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9
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AAAA
PRANG'S NEW GRADED COURSE
IN DRAWING FOR CANADIAN
SCHOOLS . . ... . . . . .
TEACHERS MANUAL
«';
W. J. QAGE & CO. LIMITED
TORONTO
HiMi
UIl. 3. (Saflc & do.'s E^ucntional Sciico
TEACHER'S MANUAL
roK
Prang's New Gradhd Coursh
DRAWING
FOR
CANADIAN SCHOOLS
W. J. v.AC.K & COMPANY, l.lMITKD
T( )kONTO
I!
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Co.vmiii (Ti"v
(iKNKltAl. l>lliFI"l'IUNS
linuK I.
I!..(IK 11. .
IS<>OK III. .
ISciOK IV. ,
Ii...)K V.
1(1
PREFACE.
'Tills course of iii.structiou presents a means of mental
development iiidispenssilile in the education of every child,
as Ic-adin^' to a knowledge and appreciation of the beautiful.
The editors Iiave arrange.l the work of this Course with
special reference to Canadian conditions. Drawing is used as
a means of training the eye and hand and as a language by
wliich the pupil not only expresses but impresses his thought.
Still further, in the "making" required in the study of the
models and objects, th.. ability to use the hmids is trained and
encouraged, the (nvative faculties are developed, and thus man-
ual training, with all its healthful influences, is begun. Pupils
going through this Course will not only be led, "through the
cultivation of their observing powers, to take a livelv interest
m the forms of objects around them, but will also become
conscious of th<> power of expressing their ideas of such forms
by drawing, whether -^Wtli regard to their facts as seen in
working-drawings, to tlu'ir aiijieartuici' as soeii iu liictures, oi'
to 1li(>ii' ilccoratiou ; nt tlie saints tiiiii", wliilo the oye has been
trained to observe, and the Iiand to draw, the mind has been
constantly unfolding through iiereeption, thought and expres
sion.
Still further, it is a ilistinet aim in tliis Course to load
pupils to an appreciation and love of the beautiful as found iu
Nature and as expressed in the haud-woik of man. AVhat mau
has done, what ho has cre!ite<l, is Art.
It is hoi)ed that the work in this Coiu-si! may lead leacheis
and pupils to a free use of Drawing and Color as an aid in
other studies. Drawing, especially, should lie as much at the
coiumand of every teacher and every jiupil as writing and
speaking, and should be as freely used.
Teachers shouM seek every opportunity to apply the ■work
in other studies, ami encourage pupils to use it as a means
of expression generally in their school lessons.
THE THREE ])rVTSIO\S OF ART STUDY.
I. REPRESENTATION.
Representation is tlio scieuco niiil art of (loliueiitiiig or
n'prcsciitinj; objects iis they .appear to the eye. It coucenis
picfure-iiiiikiiig. The (ipiimidiicr of the form of mi objoet, soeu
ti-om one staiiilpoiiit, may bo very different from the faots of
its form. It must be reeogiiizod that instvuetiou in drawing
the appearance of objects mnst relate primarily to instruction
in acdiifi, and that pupils fail in drawing the appearance of
objects more from inability to «r than from inability to draw.
In general, all persons not trained to liabits of correct ureii/i/
are predisposed toward drawing or representing the apjiearance
of objects according to the idea of the facts of the form which
the sense of touch has fixed in the mind. This is easily
ucconutod for by the fact that, until within a very few y(!ars,
it has been thought that the; aiipearance of an object nnist 1)0
entirely drawn fi-om a knowledge of jirinciplcs iiiste,i<l of
through seeing. Tiie drawing of the iippearance was thcrel'oru
VI JlIK THREE DIVISIONS OP AET STUUV.
lM)stii()ii»Ml until i)Ui>ils wore roady to learn perspective. Sucli
11 i)(isti)()ii(>iiu'iit is ii<nv (•i>iisiil(>rtMl nueducatiouiil, and pupils
ani now led first to see the appearaiico of objects, and then to
sIkjw by drawinji; what they have discovered throufrh seeiiifj.
Many pupils will have had no previous ojiportunity for such
woik; special stress must be laid, therefore, on work in seeing.
But ]?epr<'sentation of visible things is not all. The art is
more truly called an expressive art, — the art of expi'essing con-
ceptions, — for it enables a person to express b> di'awing ideas
of things not really existing — a noble thought or a beautiful
idea. The power to think the thought and conceive the idea
is inborn; but the power to repi'esent the thought by d-awing
must be ae(piired, and generally comes only by careful training.
11. DECORATION.
Decoration is the science and art of producing beauty in
<irnanient by means of v,-ell-oomposed spaces and harmonious
arrangements of lines, of masses of light and dark, and of
color.
Ornaint^nt, the product of purely decorative art, is always
em])li)yei' 'o beautil'y objects created for gome purpose, inde-
pendent of their decoration. It is truly an expression of love
for tiio object — a desire to make it beautiful. It produces its
legitimate effect when, without conc^ontration upon itself, it
makes the object to which it is applied more pleasing than it
is when unadorned.
Fitness to its imrpose is the underlying princijile — the very
eorni>r-stone of all good ornament. From this pi'inciple of
fitness for its purpo 3 thei'o arises the fundamental law of
THE TIIKEE DIVISIONS OF AltT STl'DY. VII
oruanuMit — subonliuatioii. This law rtHiuires thai- all ouxa-
MEXT SHALL BE IIUDEST AND MODEKATE. StlOUg l't)Utnist.S ail(l
strikinjf effects violiite it. Illustrations of this i-erjuiremciit in
mattois of good taste in general are familiar to all. A loud
voiee in conversation is not excusable; a forwaril, self-asserting
manner is a mark of ill-breeding. This requirement holds good
in all ornament, whether architectural, domestic or personal.
He is not well dressed whos9 dress is conspicuous; that house
is uot well furnished where the fui-niture is obtnisive ; that
building is not well ornamented whose decoration is uot sub-
ordinate to the idea of the building.
The study of historic ornament loads more and more to
its interpretation as a visible manifestation of the history, life
and spirit of the people who produced it. The contact of
various nations or peoples, either through war, commerce or
travel, can be traced in their ornament; and it is an evidence
in the various phases of progress and civilization.
ni. CONSTRUCTION.
Coustruction deals with the facts of foi-m, and shows the
ust which is made of these facts in the world of industry.
Its importance, both educationally and practically, cannot be
too strongly emphasized.
Construction as used in graphic study is the science and
art of making drawings which give the facts of objects and
from which objects may be coustnicted. These are called
working-drawings, and are necessary to guide the workman in
nearly eveiy branch of manufacture.
The practical value of constmctive drawing ^vill be more
THE TIIKKE DIVISIONS 01' A1!T KTI l)V.
iiii<l iiioir, rcM'ogiii/.cil iis kiKiwloilffo j^niws of tlio way in wliich
idoas of form, thiit is to wiy, <'oiistni(!tive designs, iwn oxiircsscd
so as to 111! (•limed out in imiuufuoturo and indnstrv. Eveiy
detail of l)uildinj,' eonstnietion, f'l'om the stone fonndation and
the l)eaius to the linislied exterior views of the house, or ehui'cl,
oi- eathedfal, has first to be imagined, and then sliov hy
\vorl\ing-dra\vings ; from these drawings tlio Imilders work.
Every new invention, from tlio simplest detail in machinery to
a great engiiio as a whole, nnist, before it can be made iiracti-
eal, not only bo thought out, but also bo expressed and bo
made intelligiblo through W()rking-dra..iiigs. It is through
working-<lrav iigs that every new object inamifaetured is iiia<le
possiiile, is materialized, so to speak. Designs for all landscape
gardening and outdoor improvements — roads, parks, drives, etc.
--must bo expressed in workiug-(hawings, that they may be
carried out by workmen. The great works of (.•ivil ami mining
engineering deiiend upon working-drawings foi their propei
coiniilction. There is no walk in life in which a knowledge of
the methods of expressitm underlying woi king-drawings, and
the ability to interpret them, are not of servi<'e.
lint beyond the practical benefits arising from a knowledge
of constrnctiv(! drawing, there lies the great educational value
in tlio subject of construction well presented. It calls for
most accurate •)bscrvation, most careful consideration of the
relation of parts and of form values, of the adaptation >f form
to purjiose, of agrecableness and lieauty of form — all in tlio
service of the creative imagination. Tho pri'ieiples which
govern the expression of thought ill tho subject of construction
are fix<'d, ;ind take their place aiiKUig the exact sciences.
GENEr.AL DTUECTIONS.
DRAWIXG.
Freedom of Movement. -Tli*- iini»ort;iin'ti ut ficciom of mnviMin'Tit
in ilifiwiiig ciinimt bo ovt'i't'stiiiiiitod. Tt iirtxlnccs lii^'litncss ot" louch, <jiiick-
lu'ss in execution, iM'j^etH coiiliilenco in one's aMHty to tli'iiw, and w!ien actniired
by a. class of j>'![)ils matciially Ic^setis the work of tlie teaeliei". 'I'lie abilitv
to sketch rapidly and easily eainiot be attained without it
A set 4»f drawing-books, finislied as draiii^litsiiien would liiiisli thern, rarely
indicates the liest teaehing. It is of far more inii)ortatu-e tliat theeliild should
have opportunity to work first for freedom of inovemeut rather than for
straiglitness of lirie.
Position.— The ehildren shouM sit <m the left half uf the seat faeini,' IIm-
desk. Tliey should sit erect, fei*t Hat on tlie tloor, tlio eyes never nenrer tiie
pajier than is necessary ft a* a clear view of the lines. Tliey shoul'I not bend
forward unnecessarily, and should learn to work at a distanc<', as thus they can
get a iK'tter idea of tlu'ir work na a whole. In drawing at the blackltoard, cliil-
dreii shoulil .stand at arm's length from the board.
9
10
TLACHER'B MANUAL.
Pencil. — Fnr gcnenil work Gage's Imperial Art pencil M is rccoiiinieiukHl.
I'nr wiirk in liglit nnd NliiuJe, color, jHJiicil-iMiiriting and all metlioda of artistic
rcmlcring, tliti Inipoiial Art SM is especially efFtKitive. Young cliildren hIiouUI
1)6 Ivd to use uch a pencil with restraint so as niit to get extreme effects;
tliat is, the rendering tiK) heavy and black. The pencil should \te used for
drawing only. Short pencils should not be used.
For ordinary work, the pencil should be iield lightly three or four inches
from the point, so that it will have the support of the middle finger and b«*
held by tlie thumb and foiefinger, as shown in the
illustration. T^ead the pupils to attain tliis pencil-
holding fr(»m a desire to draw freely and well.
The pupils should be led to see that frequent eras-
ing injures the surface of the paper and tlie eraser is
disastrous when applied to shade or sliadow, there-
fore it is better to draw at first with very light lines, correcting these if neces-
sary by drawing other ligh*" lines over them. When a satisfactory outline
{or blocking of the whole) is secured then the pupil may proceed to carry out
the effect desired, any obtrusively incorrect lines being first taken out with
an eraser.
For ^*i?Jtf;t7-;/rtt«/iM(/, where the
drawing is done in mass with
broad intermingling strokes, the r ^-r \ '* .^^-»-
pencil should l»e held under the fin- ~4^|^^^ \.) -^.J-" "^
gei's as shown in Fig. 2. y^^ .,^
Pra>CtiC6 Paper — It is desirable that pupils should have ac.e practice
in free nio\cinent in addition to the work in the drawing-book. Quick
sketches by the pupils fix in the mind the purpose of an exercise where, as
in the pose or animal study, the lines of action may be studied from life pre-
liminary to work in the drawing-book. For such purposes sheets of manilla
paper, six by nine inches, are desirable. The sheets may be used on both sides
for drawing. Provision sliould be made for twenty-five to thirty sheets for
each pupil for use with one drawing-book. The teacher sliould guard against
too nmch p actice prehminary to exercises in the drawing-book lest the children
lose interest and the spontaneity of their effort suffer.
PRANG*8 NEW GRADED COURSE IX DRAWlNd,
11
TVater-OolorS. — Water-folor piiints arc fiirntsiit'd to tlie stliunl-i in
various funns. Tliere are li(|ui4] pjiiuts in Ixtttlrs, ihoist wiitt>r-c(ilur j»Linl>( in
tulK'w, and paint Imixcs with cukes of paint. Pciliaps tlio most practiinl fur
general use in the primary school is a paint-lM)x with three <'oHrs of exiellcnt
quality.*
For all line work in ink t-r water-color the brush should Ik* liehl as nearly
vertical as possible, with the fingers slightly resting upon tlie paper and tin-
whole arm moved instead of merely the fingers. IJioad washes are obtained l)y
charging lie brush with considerable water and colur and v.-orking witii tlif
side and not the point of the brush. To obtain control and power of expression,
it is well to encourage even young children to use the brush in both ways.
How to Use Water-Oolor. —Washes may 1)6 laid perfectly flat by
working with the brush full of wet color, b<>ginning at the top of thy figure and
carrying the coljr across the enclosing space from left to right, inclining the
paper slightly and dragging tlie color down as it pojils. The excess of color at
the lower edge may be lifted with the brush if the brush is nearly dry.
A grrued wash from the full tone to a pale tint may l)e hiid by starting
with a bru^h full of color (very wet) and carrying the tone as fiir down as the
full depth of the color is desired, then by adding water and no more color every
time the brush starts from the left to the right, the full tone will change, giving
a graded effect ending in a pale tint. Long vertical oblongs are excellent for
this exercise.
When expressing in a pictorial way, the work should be as individual as
possible, that is, the children should express as they individually see. It would
be a mistake for the teacher to give directions or definite advice a^ to what
colors to combine or juxtapose to give the exact tint or tone of a tlower, leaf oi'
stem, as different children may see or feel the color differently. One child stvs
' The I*ran(r W.iter-Color Box No, t U roeommended. This box cotitaiiis three ejiki;s of fine
'liijility iind extra size,— one each of red, yellow mid blue. Thccolorr* worlc easily jiihI siitoutlib
iiiid mix readily into «eeondaricn, tertiaries and Intermediates and broken colors. TIk'V ;iru |iiil
up in attractive boxes with hintfcd covers. Two quill brushes of tioud quality and geiicrniw nize.
"ith u-oo*len hantllers. fire included iu eaeU bos. The Inside of the box cover is llin«htnl for ttJ-ea-i
a palette with three divisions.
Vl
TKAClIiaiS MANUAL.
U'l'ccii ill till' Mhadnws or n ;,'|n\v iit tlm n'Mi-cti'd li-jlit, juid j-IkhiM oxjuthh what
lie ND-s as ut-ll an tii> ciiii. Oii>' tliihl sn-s n-<l iii tlic stt-m ntn) lit' {iiitH it llii-rc :
aiiollit-r siTH ttit' siiinr part, as la-own, into liis rr<! Ih< tniiilics a Kit of l>lii(< ami
IKMliajts iti yr\\-i\\\ In htirli wuik I'liildrni hIimuM Im> fiir.nirautMl to work as
much as jH>ssibl(< dinvtly from tia; [lairit, avoiding iiiui-h inixiiig.
It(M'ari-f:il to use rl-'uii water, tlial is, waicp not cliar^rd with inta-h color
by jUT'vious iiiixiri;;; and always put tliu hrusla-s and Imix away <|iii»() flcai..
A lioilow ,s|H)iii{o lifld in the left hand is useful ti. remove suiH-ifUious color
fnim tlio lirusli, thus krepin;; tlie water clean.
l>o not leave hnishes in the water or \"ii t' em in the mouth. Wtien
ready to put the hrush away, wash it thorcms,;hly i i ch'an water and pive it a
quiek shake; this removes tho water, whilo hnn,i,M:ii,' the brush to a [mint and
preser\ in;^ its siiapc.
BOOK I.
The printed pattorn-sheeis furnished with the Utok may Iw used at the
teacher's discrctioji wh(!never they will ho most helpful to the work in hand.
Tn cutting Mio pattern for the sphere, the two pieces which fit together
to cover a hall are U'st made fiom leatla'r, for ja-uetical us<! in playin;^ a ^ame.
If some pujiils wish to make spherical pin-cushions they will find the same
pattern available U'^cd in woollen or silk. (Allow extra for the turned-in
seams.)
The cuUi pattern can lio creased and glued to make a hollow model of
pap4 r. Cut only on the bi-o;ul hlack lines. Crease on the nai-rower lines.
WlicM cut and creased the pattern will Ih- found to be provided with " laps" to
lie pasted or k''^"'''» li"hli'>y ^he form steadily in place. In pasting;, push
the laps iicM'-h tlie fonn so that tliey will not Ik» in sight v iicn the culjo \h
linished.
rU\X(iH NEW (11!M)KI) Col IISK IV DItVWINII.
i:i
Page 1. REPRESENTATION. The Study and Drawing of
Grasses.
TIiIm I'XiTi-iw is s\\)i:n- .1 f,,r ilm (ii»'Tnrn; „l tl:.- ^ih.».l vi'iir, l.i iiiiik^' n
lili'iisiilil rii'iritTliii;,' link ' i mii'Ii life mit ipf iIimhs ainl wi.rk in >.. ImkiI. .M;iiiv
whiMil cliiMiTii who livo in tlio «chiiiIit ur in ^lunll towns li.ivo iicici' iiriii.iliv
iilisiTvisl I'll' I'linnniin jjmssos in siidl ii wny as In ji'iilizi' llio ilc'lic:ilc |.i'il'iTiiiin
iif tlicir grnwlli an.l tli« piici luirl lifiuity nf tlirir ii,.|».iininiii in lf;it' uml in
llowcr.
Tlio Iciri'liiT sliiiulil csipoi-iully tiv 1.1 liclp |.ii|.ils to n.ili.r llic ililVi-r-in;;
clinnictrTs of i|io ( non Knissi's, i.>'., to l»M'oin(,' iiii|uiiinliil wllli llii'in, lo
nolico wliii-li kinils stiinil stiff iinil strai^lit, wiiifli Ih'IhI iind swjiy i;mri.fully in
11 linsw, wliich Imvi! li'.'lit, iValh.'iy lirads, whiili liiui (li-.«i|iin,i.' Iicails, flu., cti'.
Tlie •{nis.si'M hi'ouKlit in liy ]iu|iils .slmulil l«. iirriini;i'cl in an n|irii;lit jM.si
tion like tlmt in which they Krow imt iyinif Hat on tlio ilr,k. .\ii ca^y why of
iinan;,'in!; them is to shut the lowrr part of iho sterns Ik'Iwi'om tho h.-m-s of a
fiiiily thick IsHik, nml then set llio hook ui.iii.'ht on the |iii|,irs cl.sk, .>r,
letter slill, on a desk at a little dislalleo so that tho Jjenelvil edect may Iju seen
without too nuiny details.
Page 2. REPRESENTATION. -Familiar Objects.
Ij-t the draw-ill},' for page :.' !«■ from simpl.^, fiuniliar ..lijeets that are
spheric, hi'mispherio or cylindric in form. Tf possihle have ea.h pupil dr.iw
from ol)j.>ets on his own desk. Tho ohjeets chosen may In- familiar manu-
factured articles or they may Ix' fruits and vej,'etal)les.
The illustrations j;ive hints as to the way to make r.iim.l ,,l,j,.,-ts A.,,/!
round even in a simple pencil ilrawiiig. In the pi.iurc^ ..f llie lull, tli.-
slightly darker lines at one side suggest that that side was in shad.ov.
It will ho found a g.sKl plan to liave tho first experimental drawings
made on practice paper if time allows. Eiieiuirage jiiipils in makire' home
sketches i»f spiieiie oiijects and in collectii
from
illustratiiais
spajH'
-■atai
iijeets
ogues, maga/ines.
14
TEACHER't) MANUAL.
Page 3. RBPRBSBNTATION.-Nature Study. Grouping.
Have tho pupiU bring fruiU nr vegetables to ncbixil ready fur tbn \n»„n
Let tliera arr«.i«o their ..»., gr„„,«. Help the.n to «k) thut to get tho l»,t
effect they »houhl put t ther tilings that natuiully bel.Mig t .gether. Onion,,
heet« ami turnips nm^ •, more pleasing group than turnips and gru|s^.
Pupils should group tog> Loer things wlnw forms l,«,k well together. Kor
instanc-e, one large s.,utt,h an<l one small ,s,tato would make eaeh other
look like dwarf and giant; a single large objcn^^t in a group usually needs
more than one small object near it to make a g(«sl group. Consider olso
the arrangement with refeivnco to carrying uie eye into the picture.
Placing one object farther back than another suggests distance into the
picture, which is always pleasing.
It is neiessai V that i)!^ objc-jt should !» more noticeable than others in
onler to have the eye at once attracted. The principal obj.Tt in a pictu.-e
may not Is, cmsciously observed first, but the eye finds there a resting-
place ; if, on the contrary, there are two or three objects equally prominent
the eye is distract^nl and the ;ittention wanders. The principal object
should l« rendennl by drawing hi such a way as to attract the eve at
once. The lines sho.d,! I» not only the darkest in tho group, but also the
most definite.
Page 4. BEPaESENrATION.-Oube or Cubical Object.
Study cutes made from patt. rns. Have the pupils 'lold these cubes in
different positions and observe how many faces can bo seen at once. Have
the culw held or placed so that two faces are visible. Have it held so that
three faces are visible. Draw v hat is .seen, just as it looks.
If preferred, have the drawings made from familiar objects that are
c 'bic in .shape, e.g., boxes, baskets, inkstands, paper-weights, etc., etc.
Encourage pupils tc make quick sketches of many different culii,.
objects (using practice paper or common manilla paper) so as to get prac-
fi,e in observing form. If such objects look as if they were falling off the
pajKr toward the observer, the top faces are probably drawn too wide in
MlANd's \EW (lIlADKn COIllSR IX Dli.vwIX.l. l,",
pr..l«.rti.,M to tl,o rest ,.f tl i,|,„,.. I> t |».,.|,l,., ,,„,,iu ai .his ,.„«p
"ftlu, WM,k with rul-, f„r |,..>,».r.iv,., I,„t l,a tl>.„, .i„,,,lv ,,v t„ ,,.11
Ijutlifully with Ihrir iK'iu'iln wimt tUry liutu wfii will, tli.ir i"v,.,. '
Ir. .lm»i„« „,„• .ulm, otjjivl, llio ..filvt ,.f „„li,li,v j, 1,H|«.,| „„i 1,,.
..inkli.a tl,„ c,l«,., fH,.,l„.,t away a li,t|„ fainl.T, the li™ivsb wIl-.'s h liltlo
Htioiigur anil clean'r.
Page 5. REPRESENTATION. Familiar Forms.
Hupi.ly ,.m-h pupil will, ,w„ ,„• t|„ „„„i,,u a,„l 1,.,, ,„„. ,i, i«i.,« Ik.
mml.. sl,„w,„« t|,„ app,>,„.a „f ,|,„ j,,,,,,,, „• ,,,„ ,j,,,„„.,, ,,,,_, j^,^^^.^^, ^^_^
tl,,. .■ulx'H, »poc,al pai„H «ill l,avo to I,, lak,,. t„ »„ ,„,s„ th..„i that tl„.
group will l,„l,l it, ,,„s;ii„„ M,.a,lily. A s,„all la-ass curtain ri, r ,i
com.,,,.,, r».,.KT lm„,l lai.l .,n thu ca\m a, a n:t for tho sphoi-e wHl ,„.o.
vent thi) latti.r fn.iii i-olli,,^..
^fter .1 first trial on practieo pa|...r, ,l,.a«- i„ ti,e l„K,ks, re.iu.n.lKrin.-
t .ko l,«l,t l„„..s at fi,st a.ul l,ri„« tl,,,,, out will, ,l„o el,a,-,u.t,.r a,,."
aoc t oi,ly af.,.r tho outii,,,, I,,,., Ik.„.1 eo,.,-,.t..ly „,a.lo a„.l u„„..,.cs,sarv a„,.s
rtjiui »n1.
If «o„,o pupils aro ,lispos,.,l ,„ ,1„ ,.xt,.a «k..t,.|,i,|.,', ask tl„.,n f..r otluT
llraw„,^.s on p,-ac.ti™ pa,„.r or in skotcl,.l„K,ks .sl,owi„« iho sa„,e c-oinhina-
t.o„ of „,„,l,.ls hut »howi„- tho culx, lu,„,.,l at a ,li(r„,.,.ut an.-Io. Ask
th,.,o to wulch for co„,l>in,vti,u,s o( tl„.so two fu,-„,s (or of .slij-ht nuKli.i™-
tio.,.s of the »a„,e fo,„,.s) a,.J „,ake .sk,.ul,es of tl,L.„i. Gat,.posts a„,l
n..w,.l posts at tl,., |„.a,l a„,l f,«,t of ,tai,-cases often show a sph,.rio f,jrm
suriuou,,.,,,),' a sii„a,o prisni ,„• a cyliiuk'r.
Page 6. REPRESENTATION. -Grouping Models.
Beforo tl„.y U..,,in to ,1,-aw let tl,o pupils Pxp,.,.i„„.„t hrictly with their
cyl..„lr,e „„„l,.|s „p „l,je,.ts to «,.,. how the appar,.nt shape of tl,e ei.rular
top va,-,e.s R..,.,„.,li„^, to its position. Pupils shoukl 1« le,l to s,.o that
though the actual sl,a,« is a ci,.cl„ it appears like a H„„,.,„.,l ,.i,.,lo o,
e hpse; u„,l tl,e nuue .,early it is on a ]vvA with tl,e eye the t.arrowe,.
una elhpse ui,i)":ii.s.
IG
teachek's manual.
Have tlie pupila also study briefly tlie outline of the lower edge of tlieir
cylimlric objects. Try to help tliein to see tliat wlion tlie object i.s in'Id so
hijLjh that its bottom is on a level witli the eye its outline looks like a
horizontal line, but that, as it is gradually lowered, the outline appears to
curve downward, the curve growing fuller as the object is placed lower.
Let one or two quick sketches l>e made on the practice paper to secure
correct proportion of the objects and proper curvature of the upper and
lower edges.
Arrange a group of two oi ^iree models, including the cylinder, and
draw the group.
Page 7. REPRESENTATION.— Review or Optional Exercise.
In arranging a group of models or of objects, the following directions
are helpful :
(1) Choose one for the principal object, an<l, generally, place it cen-
trally but not exactly in the centre ; (2) do not place the other objects in
a straiglit line with th principal object ; (3) try the effect of placing the
objects so that if the centres of their Imiscs were connected an irregular
figure would be made; (4) place them as if they were gc«>d friends and
l^longed together, and (5) so that they will appear ai rest. But remember
(G) that the objects should not have the same positions, that is, their axes
should not be all upright or all horizontal; they should not Ixi parallel nor
at right angles to each other ; and tliey should not present exactly the
same faces ; and (7) one of the objects should lie partially hidden l)eliind
another, even if there are no more than two objects in the group. Look
now (8) to see if in the group that you have made the objects will appear
of the same height when drawn. If so, change them, for the effect will
not be pleasing. By skilful questioning, the pujiils can bo leil to these
points. The effect of distance into the picture, obtained by the placing of
some of the objects farther back than others, can l)e expi'esse<l in the draw-
ing by making the luit's fur the farther objects somewhat lighter and less
definite than those of the princijMil and nearer objects.
■X
^t:'^^
PRAXG'S NEW GRADED COITRSE IN DRAWING.
17
If it is preferred t„ ,oview the Htu,ly „f the cul«., let >„,m1oI, or simple
cubical objects 1» studici in various positions. It will Ik, well to make
first several (juick sketc « on pra<Mico pajier.
Try to bavc pupils first observe eai-efully, then draw boldiv niaki,,.- all
sketches of go,Kl sixe an,l placin- the.n well in the space all.nwl.
'^''"""■"r"' '>•' "ketelnn^ and the collection of j.ictures of objects
rescmblin'' the culw.
Pages. DEOORATION.-Good Arrangement. Beautiful Spaces.
I^t the pupils consider the si.e of the space on the drawi,i«.b,Mk na-e,
and p an for the size of the two squares that are t,. bo drawn on the pa-e
The thmight of s,«ee r,.lations nmst cou.e in even in this preliminary pl.tn-
mng. The size of the s.piares to l,«,k well in the space, the width of
the mai-in about th,.ni, a,,,! the relative wi.ltli of the space I«tween them
must receive thoughtful consideration. Every drawing exercise should include '
such study of space relations.
Show .simple plaids in ginghams or other fxtik's. Let pupils draw on
practice paper squares of the size decided u,,on for the ,lrawing-l«,ok i.a.-e
I^ad then, to think how they wouhl arrange lines in these squares to male
a pleasing diMsion of the space, using two horizontal and two v,.rtical
lines. Let them express these thoughts by drawiug Hrst on practice paper
with pencil or with brush, then in the drawing.l,„,k. Encourage individual
work. Ihe exercise aims to find the chil.l's own feeling for the underlying
principle of beauty in the ar-rangement, be it ever so crudely expres.sed.
If the exer,.ise consists of the arrangement and copying of a verse lead
the eh.ldren to think carefully l«.fo,e they b,.gin to work. Preliminary
experiment, on practice paj^r the same size as the page, will bo helpful.
Page 9. DECORATION.- Space Division. Plaids.
See the suggestions for the work of the preceding i,ag(..
Show examples of plaids in woven or i.rint«l fabrics, so that it may be
seen how others have exiwessed the tlmught of line arrangements.
18
TEACHEK'S MANUAL.
Tlie chililren mav plan for tw.i wnmivs tn lio well plac.-d (.11 tlio Hmwing-
book piige. U->id tlu-in to niuko a quii'k nVvU-h of tl.o scpiiiivs on pnictic..
paper, giving tliouglitful consi.leratiou to llii'ir si/(! ai..! to tlie intervening anil
aurrf)un(ling spaces.
Some otiier arrangement tlian a elieek slioulil 1)(^ eliosen. A clieck is the
arrangement of equal s.iuares and is tlie simplest form of a plaid. The
examples presented may serve as suggesti.ms. If the sjaees are too nearly of
the same, size the de.sign may !« commonplace. Let then sketch the designs
in the aquares on their practice pajier, trying nioiv than one if they desire, then
draw in the book, using pencil or brusli ai.d ink.
Page 10. DECORATION. -Examples for Study.
The examples on the upi-er half of the jiuge are of ancient origin. The
line borders tell of the fine sense of beauty in si«ce-relati..;.s among Egyptian
and Chinese artists centuries ago. The bit of ornament between the borders
shows Egyptian love of svmlxilism. Tt means the sacred river Nile. The
zigzag lines were made to suggest the rolling waters of the stream, and out of
these waters rose the buds and blos«,)iiis of tin; lotus, a plant resembling our
wat<"r.lily. To the Egyptians it was a reminder of their ..wn immortality,
growing as it did out fi the mud of their mysterious river.
The tile designs, in the lower corners of tlie page, are studies of
squares and circles, arranged with thought for beautiful proportions and beau-
tiful contrasts of light ami dark. The otlier til<; designs show arrangements
of squares within sijuares, with a suggestion of the effects of varying dark
and light. The surface covering shows a well-considered repetition of one
figure, covering the ground without crowding. It was designed from a
plant-form.
Page 11. DECORATION. -Optional Exercise.
If one of the Iwrders is chosen to lie copied, let it be enlarged to three
inches in widtli and carried across the page. If the square tilo is cho,sen for
study, two designs may be drawn in the given space.
tTjur^-Tf^: =i,-«:'*'iiw""'- '^j
PEANO'S XF.W CIRADKD COUKSE IN DRAWING.
19
In liiiikinf,' mollifications of a given (Ifsign remeralwr that beauty of
proportion and a.tiing(!iiient is tlio oncl desired. Mere novelty may be ugly
and unintei'i'stiiii;.
Page 12. REPRESENTATION. -Pose Drawing.
Direct pupils' study of the illustration ^o that they may see what is most
important and lielpful. Xotice how few lines the artist used, yet these few
tell the whole story. .See h.jw the prir. i: -1 wrinkles in shirt and trousers
express the muscular a. lion; tho>e in t , irnck show tho upward pull of the
right arm ; those in tho li. i, elbow sugges. tho bending of the right arm ; those
at thigh and at knee show tliat tho figure is not a stitF chiiui doll, but a live boy
who sits and stands at will. (.Vioid choosing f<,r a mcHlel a boy in a perfectly
new and unwrinkled suit. It will lie difficult to avoid the china-doll appear-
ance. Clothes showing honest, l.'gitimate wear -ho< abuse -have much more
character, from the artistic point of view.) Notice the slight indications of
hair. Very few lines ai'o used, yet the effect is that of a proper growth of short
hair.
In studying the model, lead pupils to notice proportion first,_to see how
large the head is i-onipared with tlie width of the shoulders; how width of
shoulders compares with the « hole height of the figure ; how length of arms
and legs (or apparent length if thi'y ap])ear forcshortene<l) compares with i>e
whole lieiglit. Hin-e careful study given to the apparent shape of the feet.
Pupils will often fmd them appearing very iliff'ej-ent from feet seen in profile,
but the only way t.) make lliem look real is to di,.-' them as they actually
appear.
Let the first sketches be madi' on practice paper. They will lie crude,
but should enable puj.ils to clo much better on a second attempt. The drawing
in the book may Iw fj'om tho same subject or a different one. The purpose is
not to proilucr ip.rt'ect drawing, but to learn to see es.sentials and to express
essentials vigorous] v.
Page 13. REPRESENTATION. -Imaginative Drawing.
Let pupils make dr-awings to illustr-ate some familiar story or verse.
The figure in the corner of the page, for example, rejjresents Little lied
20
TEACHEU'S JIANVAL.
Riding-H.K,d on the «ay to her «,an,l,notl,e,'H. If preferred let tl,o pupils
u»e for a the.ne ti.e kind nf work tliey would like to do.
Keep the w.,rk as simple as possible, try to express what is n.ost
important and leave out non-essentials. Make .,nly one draw.ns on the
book-page, and have that of good si.e, well arrange.l ,n the space.
Page 14. OONSTRUOTION.-Pattern Drawing. Freehand.
Supply pupils with „..>delH of the eul« and let them study its s„rf.vce,
deeidingVow n.any faees the pattern must show, of what shape and how
joined to eaeh other. Let the first work 1« on praet.ce pvper ; allow puptls
to turn the models over and over or the paper, impressing thetr edges so
as to show four of the s,,uare faces i.i a row. The two additional squares
(patterns for the end faces) might be shown attached to any one of the
first four squares, hut the arrangement shown in the illustra ,ons_ is_a
particular'/ g.KKl one. If the right-hand square were omitted
others drawn, making a pattern shaped like a Greek cross, the Ik-:
fasten:.lg of the sides in place would piodui'
top.
In actual work, the arrangement of the faces wouM de,K.nd partly on
the shape and quantity of material at hand. Economy has to to considered
in all industrial art.
After the pattern has been -learly thought out and shown once by
drawing on practice paper, let it be drawn once more on page 14 in the
b,„,k. Let pupils plan the si,.e of their pattern so that it w,!! neatly
occupy the space provided, without toing cramped for rooui. Have pupils
draw first in light lines; then, w!,en complete, finish in flruier lines of even
width and color.
Page 15. CONSTRUCTION. -Proportion. Use of Ruler.
If time allows, give .additional practice in the study of proportions, asking
pupils to estimate proportiona first, and then determine them ex: tly, by
measurement. Doors, window-frames, blacklioards, desks, book-covers, '-tc.,
lire were omitted and the
iKMidiiig and
a hollow cube open at the
prang's new graded course in drawing.
21
make exeellpnt material for such work. The training thus given to the judg-
ment is valuable in all kinds of drawing.
Additional practice in the use of the ruler for exact lines is also desirable ;
but, at thin stage of the work, pui)il» should practically depend most on free-
hand dr-awing. Th(?ir work in Iiepresentation should invariably l)e freehand.
Page 16. OONSTRUOTION.— Pattern Drawing.
The pattern of a square prism can bo developed by creasing the faces in
paper ai'ound the wooden model. In this exercise the pupils can join. It is
better, as far as poHsible, to Iiave the pupils develop all exercises first through
their own tivities, as the work then lays stronger hold of them than when
they simpiv observe what you do.
The pattern may also be developed liefore a class by placing an oblong
face of the model upright against the blackboard and rolling it from face to
face until each of the four oblong faces has touched the board, then turning it
up till the upper stjuare face has toucheil the board, then down until tlie lower
s(juare face has touched tlic board. The square faces may join any one of the
((blong faces. In pra<'tical work economy of space and material has almost
always to Ix) carefully (.-onsidered when using a pattern, so the pattern itself
is planned in such a way as to allow its rept^titions to fit into each other with
as little waste as may be.
Let the proportions of the pattern b« definitely decirled and followed,
either the proportions of tho wo(Klon mwlel or other proportions clearly under-
stood by pupils. Tho drawing should be finished in lines of even width and
strength.
Page 17. OONSTRUOTION. -Optional Exercise. Review.
Tlie cubic Imsket illustrated on the drawing-bonk page can be easily and
neatly made from a sheet of maiiilla practice pajter or a leaf of note-paper, and
may serve us text and starting-point for the exercise of individual ijuagination
lit creating new furms.
A pattern for this basket is given !"-'-°. The short horizonta! lines within
the outline represent simple slits cut a kniie or with one scissors-blade
teacher's manual.
used like a knife. Tf the pattern is drawn on a piece .if x 'J pructit-e paper
the bisket itself will requira a jHTtion G x G ; the han.lle slmvild 1k> cut <mt of
the renmining piece. Note that eac-h of the four sides should be two inches
s.iuare,abase also two inches sciuarniKcupying the centre of the pattern. Each
arm including the cross-piece at its extremity, should extend about three-
quarters of an inch from the »Mlgo of the side out of whicli it reaches.
After <h-awing and cutting out the flat sheet aU in one pi'-r^, crease the
bise-lino of each of tiie four sides aiul bring the sides up at right angles with
the l)ottom of tlio basket. Next, fold the little cmss-pieces at the ends of the
arms over, as one fol.ls his own ar.ns across his breast. This makes it possible
for each arm, when drawn around the nearest corner, to be pushed through the
slit found in the
adjoining side.
Let it l)e pushed
through//V'»i the
out/tide towards
the inside (see
illustr at ion).
After it is
through, unfohl
tlie cross-piece at
its extremity to
keepit from slip-
ping back. Do
the same witli
the other three
ai'ms.
Tlie two re-
maining horiwm-
dl I tal slits are for
1 the insertion of
the two ends of
tiie handle. Reduce tlie width of the handle-ends temporarily by J.oubling
tiieir cro>,s-piece8 back as in the case uf the basket. Push the handle-ends
throu-h ;mm fh^ "utsHh tnwartl the inside, and unfold the cross-pieces to
PKANG'-S NEW GRADED CUL'KHE IX DKA\VI\<;.
the HiUM'amncn uf tlnf
retjiin the liandle in placi'. The illustration mIh
I'oinpletfd ImNket.
Tlie prop<>rtiun.s of the Iwisket aro capable (if niucli vanatlcn When iiia'le
of fairly t(nii,'h paper It is a really cunvenient little reeeptaele fur many sorts of
tritles. Neatly made, it is appropriate for Cliristnias candies or for May-day
flowers.
Children may like to take the Iwiskets home and repeat the work in
different materials. The more inventive will j>erhaps like to experiment until
they succeed in making, after the same genei-al phin, a box with a MejMirate
cover.
An Envelope. Tf an envelope is chosen as the subject nf the exercise,
let the fii'st drawing \ie on practice paper. Decide on the kind of envelupo to
1)6 designed, wheth'T fir a friendly letter, a photr)graph, or for specimens of
seeds. Bring out, through pupils' discussion of the subject, that if the enveiofH)
ia for a letter it may l)e eitlier a broad oblcmg (fitting a sheet fohled only once)
or a narrower oblong (fitting a sheet folded twice), l)ut that it should open
along its broader side for the sake of ease in tjiking out the letter. Tf the
envelope is for holdip-; fine sand or see<Is it would U'tter open along its narrower
side in order to avoid spilling the contents. Opinions may very likely differ in
regard to tlie best opening for an envelope to hold a photograph. T^'a<l pupils
to think of beauty as an essential object in the design. An envehtpe may 1m'
awkward and clumsy (u- graceful and pleasing in its proportions according to
the designer's taste. The curvature of the flaps also calls f()r the exercise of
judgment and taste. Tt will be of great assistance if the teacher and the
piil)ils collect envelt»pes of various patterns and sizes for study. There are
many moi-e ways (>f shaping an envt'lopt; than one realizes before looking into
the matter.
Tx't pupils work over this first di'awing till shape, jiroportion and details
are all believed to be satisfactory for the particular sort of envelope needed.
Tlien have the same pattern carefully considered with relation to the size of the
drawing-bo4»k page and drawn once more on page 17 with such improvements
as experience may have suggested.
24
TEACHEIl'S MANUAL.
Page 18. REPRESENTATION.-Qrouping.
See imgd 1« of thiM manual for suggestioiin in re«anl to tlio grouping of
niiKlels or oljjects.
Notice, in tlie illuntration on page IH of tlio (Irawing-lK)uk, liow a few
lines of just the riglit sort, riglitly used, make the ghiss vessel actually ^"*
glassy. When artists speak of rendering the texture of a surface they mean
doing just tins, -^making glass look glassy, making fur l".)k like fur, making
the delicate, satiny petals of a poppy and the rough hark of an old apple tree
\nok like just what they are. The art of doing this has to he leariu^ gradually
through study hoth of the things themselves and of go.«l drawings done hy
others. Pupils may lie early interested in looking for examplea of goiKl draw-
ing, and their increasing appri^ciation of what is good will l)e a help toward
good work on their own part.
Page 19. REPRESENTATION. Grouping. Rendering.
Try to liave pupils think for themselves and discover by experiment just
how they can make their drawings suggest the characteristic appearance of
whatever they study.
Page 20. REPRESENTATION.— Flowers from Nature.
Many pleasant opportunities for the use of ilrawing occur to the
teacher who is interested in natui-e study. Hudding twigs of trees ami
shruhs, in different stages of growth toward full leafage, give material hoth
for profitable science study and for practice in artistic sketching. It is a
go(Kl plan to distinguish clearly between botanical drawing and artistic
sketching. For instance, a first pictorial sketch might aim to give only
the general effect of the budded twig as a whole, its main lines of g.owllj,
the characteristic angles at which its buds and branches start out, and
PRANGS NEW OKADED COlllSK IV Dlt.VWIN'd.
: li., .1. iK-r.iriltivoTruutlUrlit nf II Klnwcr.
Fig, e. Pictorial Drawing of a Flower.
Fig. f. buiaiiicul atudy of a Flower.
teacheb'h manual.
Fig. It. Iii-fonit ivc TrcutuicDt of a Oni!-4.
tlin tcxtiin^ of the buds, liard and smooth, or furry, or delicate iind
silky as the cam) in.iy !«'. Tim aim of this pictorial sketch should be U)
hrinj; out the character, life and Ijeauty of the twig without showing all Its
aiuitoinical particulars. Afterward let a second drawing be made showing
all the details discoverable by close examination— possibly by microscopic
examination. Let the second drawing, the botanical drawing, lie a complete
memorandum of all the facta &\m»t the twig which can Ixs et down in a
graphic repivsentation. .Such lK)tanical drawing, while it lacks the beauty
ami piK'tic quality of the artistic sketch, is of great value in its own way.
The <liffereneo between the two is comparable to the difference l)etween the
scientific ilescription of the formation of ice as given in text-lxmks on
physics and a poet's description of the formation of ice as in Lowell's
account of the frozen brook in his " Vision of Sir Launfal." 8ee the
illustrations. Figs, e and / on page 2.5 of this manual.
Still another way of using flowers is what artists call their decoiutive
treatment, that is to siiy, their use, not so nmch for a i)icture as for
filling beautifully some given space. See Figs, d and ,j. In these cases,
the aim was to i)r(«luce a beautiful arrangement of lines and of mas.ses
(.f light and dark. The result obtained is not simply an illustration of
rtciwi-rs or grasses, but a beautiful comjmsition,— a pleasing effect, first as a
whole, then as to the balance of parts and the distribution of light and
dark.
PKANO'S NEW (HIADEI) nil USE I.V DUAttlXli. :.>7
Page 21. REPRESENTATION. -Optional Exercise. Animals.
ft I.ot,»,i..mIs ™„ iH, ».u,li,..l.,lir,.,-t ,u...,„i..„ ,.l,i,.,U- ,„ ,1,„ ,l,„u..l,t „f
pniiKirtions anil mtinn, n.s Uniiff m,wt i "
If l>r<.f(.m.(l, iidilitioiml stuily l
till! work of piige I'O.
imjKirtunt.
niiylH. giv,.„ I., plunt-Kfowil,, ,„„linuiii..
Page 22. REPRESENTATION. ^Out-of-Door Pictures.
Stud} carefully the illu8tratio„s o„ pa,,.. -> „„,1 ,.;, „f , ,„;„„ , ^^
Not.ee e.,H.c...lIy tl.Hr simpliHty. .V g.vat .leal is t,.l.l l,y ,|„. „s„ „f v.^y f,.„
h... No .ee ..1,„ tho l.-autiful pla..i„« .,. ,|,.,.. f.,^ ,;',., .„aki„« , Zsa,
Uivisioiis of the p.cture sjuu... * '
Copy one of the illustrations, ,.nlar«e.l to suit the hlank s,,a..„ .,„ ,„,. ,«-,.
Enc,mra«e pupils to try to „,ake .simple out-of.d.s,r sk..tcl„.s fro, .,u.v
and to hring them m for criticism.
Page 23. REPRESENTATION.
Landscape.
-Space Relations in
Ua.I pupils to see the nOationship iK-tue..,, the p,.i„,.ipal li.,..s „f „ ,,i,ture
and .ts enclos.,,« outline .,r "f,.a„,e." If U,e suhjVct of the pi.-ture is ulZ
Inef consKlerat,o„, that usually decides the shape .,f the whole, as ..,., a l„.„a.|
horizon, a ohlong, a narrow, vertical oblong, a circl... .-te. But ,; ■ ■ ,f . a
s,«ce of definite y .e,l shape and pro,K.rtions may he given ; then the , 't re
.tself may „.«! to .« changed in or,ler to l,o feautiful in that particular place.
and ^'"f" P"''"?''T"" P"«"^^ tw„ohI.,n,„,|ifreri„,, from those print.-,!
an la so from each other. Have them adapt one of the givn landsCip.. ,
ho these new sp,ice,, making sue. changes ,„ the .-.■la.ions .,f ,1,,. lin.-sa! m.iv
venv" 7'"''7'"7 "^^-^''-^ ^ can bo use,!, let the two compositions be
V ry simply eolor,.d. Use not , ■ than three colors. ...,. ,., „ f,!, „„ ,„..^.'
blue tor water, ami a jwler blue for .sky. ' i-«,i.',.s,
28
TEAC11EU*H MANUAL.
Page 24. PICTURE STUDY.
Tlio study of l>rawiii;{ is iin'uiit to help diildrrn U* gruw in piwrr of
nppi-i><-iatinii on hi'II ns in piiwur uf oxf^nitimi. Tlio Htutly of i-t>ally jriMKl
pictuivM mIiouM, tlu'rcfido, Ik) canit**! on in eatli p-mlf, and tlio Kiil)j('cts ('liD-ii'ii
slinutit Iw cari't'uDy hcIi'cUhI ho that tlii-y may Ito attmctivo ami ifusmmlily
itili'lligil)Io to pupilH of average cairndty. Wlicn in doulit as U* clioicc,
always prc^icnt wluit wt'iiis tt) In* intrinHically tin* Ix'st. CliiMrcn ot'tun
sliow tiiifX|M^L-t(Hl aliility to ivci>gni/« tliv gti'iitncNs of a real niantcr.
PioturoH closely rt>Iat<><) to tlio chiUirt'n's <iwn exiMJiieiico uf life ai-e
-^IKicially (Icsiralilo for tlio lower grades.
l)o Dot givo readv iiiado itifonnjition at first, hut let tlio jiupils riijny
the jiictun's in tln'ir own waVi telling what they seu aiul what they like.
Aftorwards the teacher may profitably add soiiio ite. -h of interest or direct
attention to Bumo Ix'auty whieh the ehildien <iid not sec for themselves.
The first picture in Book I. i« roproduci'il frnin a puintiug by tlio Kiigli-«li
artist, Hir Edwln Londsepr (IHifi-lH?:!). It i-i thi; i«*rtriiit of a hound owned hy
Lady Blosaington— waiting iit tlio foot of a Hijjlit of ntairs fnr his nustross. TIio
perfection with which his body is drawn an.l tlio anxious, ItsteDiug pose of the
intelligent head have niudo the picture famous.
Jean Fran<;ftls Millet (1814-1875), who drew in pastel the picture of "The
First Step," devoted years of patient, ill-paid work to the study of his peasant
neighhora in Franco. Hu was l)orn and brouglit up in the country and always
loved the plain, simple ways of living that ho saw around liim. In later years
ho hooiimo known as a great man, and his studies of ])i'ii'*;int life hiivo done a
great deal to hrlp other people to find nobility and beauty in cnmnion things.
The children will bo intere>*ted to see thf woodi'n shoes worn by the father and
mother, and they will readily imagine the story which tiie attitudes suggest.
Anton Van Dyck (1599 Itill) was a Flemi-h painter. He spent several year-*
in England and was knifrbtud by Charles 1. The Httlti James, Duke of York,
whose portrait is represented iu the drawing-book, was a son of Charles I. and
afterwards became king of England (Jamus II.} This print was made from a
crayon copy of Van Dyck's painting, so it shows two signatures — that of the
painter and that uf the Italian copyist. The complete picture shows a group of
three children.
Children usually enjoy telling what they know ami like about a picture.
The etudv of nny i^ood ropro<luction gives an excellent subject for a language
lesson, either oral or written.
l'l;A.N<i"s m;\v <iu.vi>kii (hi iisi; iv uiiAWLSii.
•J!»
BOOK II.
The Pattern Page.- Tlir Bijuiiin |,ii»ni putt,.,,, „iii ]«. f,,,,,,,! i„.|,,f„|
for «tii(ly in f.mii.fiiuii with Ih.^ w„ik NUKxrstid „ii pagi's It uri.l in „i
lli(3 (lniwiii}^-ljiKik.
Page 1. REPRESENTATION.-Sketchlng from Nature.
""'" I I" l"">i<l.-l with IcHfy twi;-,, l„-,«ah,.H ,»■ s,,r,iVH for i.i.li.
vidual study. Thn more, vuriely tlirro is iii the iimlcrial thu l",.tt..r, if „1|
the »|KriiiiiMw urn fairly siinplo i„ tlifir f.,rinM anil thi.r iii,»l,, „f g,„«th
Have the sprays hflcl in g|as»,.s „f wat.T .a- sainl ,a- .au-ht l«.tw,s..i ih,.
leaves of a licavy IsK.k standing u|irifc'lit on the l«,k „t the desk Tlie
general rule shoul.l U: to give eaeh spray a natuiul position, one in whirl,
11 wdl feel at home. Try to have pupils l.s.k for and express the main
essentials without putting in all the small details, but emphasize the nee.l
of li-"thfulrie»s in those main essentials. It is not at all iieee«,sary to show
all the veins an.l notches in the h.ues, Init it is neeessary to make the
lea^,■s winch ar,. drawn ap,K.ar to grow as they do grow, opposite eaeh
other or alternate with carli other or in whorls upon the sterii, .ucadirig to
tlie constitution of the parlieular jilant that is Ix'ing studied.
Sec pages L>t-L'fl of this manual for suggestions on tlio di/Ierence Is'twei^n
artistic ski'tches and drawing for purjioses of Ijotanieal analysis.
Kncourage all the outside sketching which i>upils are willing t.. alle.npt
rx>t branches of sei'd vessels be drawn as w,.|| as branches of N,nes and
(lowers.
Page 2. REPRESENTATION.-Hemisphere or Cylinder.
Do not give iwpils rules f..r the correct drawing of ibesu f,a-ms but
hel)) tluMn to .«,« correctly for tliemselve.s. If they see truly, their drawin-
wdl 1« right. Ev,».n,u.-„t first with m.»Iel cvlinde« held v, rricxl. Ask
pupils to hohl these so that the upper plane face is just on a level with
IST jm
30
TEACHF.U'S MANUAL.
the eye, niitl is tliereforo Imivly out <if siglit. I-et tlioMi lioVl tlie vertical
cylinder II little lowc', so tliiit tliey l»'f,'in t.. see tlie upper pliilio face; wimt
is its Jippar-eiit shape! Jlove tlie cylinder still further l«'low the ey(! level;
wliat is its apparent shape now? How does it compare witli that jire-
viously noticed! Holding the cylinder in tliis same position, notice the
%isil)le portion of the edge of the lower phme face ; does it appear straight
or curved? Doi-s it appear nuiro or li-ss rc.undini; than tlie corresponding
curve in the edge of the upper face?
Try similar experiments with a horizontal cylinder turned a very little
way from the observer. Move it gradually toward the left, hringing the
right end more and more into view, watcliing for dianges in tlie apparent
sliiipe of the right end anil changes in the curvature in tlio edge of the
left end.
Try similar experiments, holding the cyhnder vertical again and mov-
ing it from a point on the hivel with the eye, gradually higlier and higlier,
watching for clianges in its appearance.
Trv similar experiments with the hemisphere in different positions.
Take pains also to have pupils notice tliat the ellipses seen under
lliese circumstances .ihvays have rounding en.ls, never pointed ends.
Have pupils draw the nioilel cylinder or hemisphere, studying the
curves and trying to draw tliem as tlicy appear.
Page 3. EEPRESKNTATION.-Grouping.
Refer to page IG of this maimal for suggestions a'oout groujiiiig. See
also the manual text for the last lesson, on the study of the cylinder anil
lieniisphere.
Page 4. REPRESENTATION.— Angular Objects.
Have the m.Hlels placed eitlier vertical or horizontal, <as preferred, but
turned at an angle, not squarely facing the observer. Lead pupils to observe
carefully tlie lop face of the niodel as far as it i.s visible. They will 1^
interested in discovering the peculiar shape it appmr- to have, a shape not
XT
^\A.^
I '-.«ai
I'ltAXd's NKW (illADEl) COriNK IN TiKAWIXCi.
Ill
in the least like eitlu'r a .stjuai-e or an <
the lower edges of the iiio.lel and disc,
extend; whether they slaTit ciiimily or i,
slants tile mure.
i^ead them to nulieo also
■,';■<!■ I'i'ections tlit'SO edj^es
; it' ri i'fjually, wiiicli edye
S|icak of draw inn as a sjiccies of lanijuaxo, amc.iod of talkinj,' without
sound. Ask jiupils to tell witll their peneils (first on [iractiee [lajier) just
how their models look. Pi-iliaps no two iiKxlels may look exactly alike.
Each i>ui)il should give an aecount of his own mixiel.
If the horiziiiital .siiuare prisin is very near the o!iser\er, ho may he
looking almost diivutly down upon it and his drawing he eonseijuentlv
awkward and ugly. This van lie avoided hy making a |ilatform of l„„,ks
and jilaeing tlie [irisni ui.on them, to get a more interesting and jil.-asing
effect. E\eii whiM'c the top face actually apiieai-s very narrow, impils an-
usually inclined to draw it too wide, hence the special desiraliility of care
in placing for study.
Pupils should he encourag.'d to do home sketcliing and to collect printed
illustrations showing similar forms. Encourage tliem to lo.,k at such illus-
trations critically; that is, to look for lieauty and accuracy to Ix; enjoyed ami
emulated, and also to look for faults to bo avoiiled. Many hastily laeparcd
illustrations found in advertising catalogues, etc., show the very same errors
into which pupils fall; hut if these errors are disco, ered as something to be
shunned, their study will have a certain value of its own.
Page 5. REPRESENTATION. Square Prism
Continue the work of the preceding page. If praciicalile, it will be
well to make .several ex|H'rimenlaI studies in seciiuj and drawing on practice
paiier, preliminary to work in the hook.
Page 6. REPRESENTATION. -Grouping.
I*t this be first a lesson in smiii/. Have .several sketche.s made on
practice pa|»>.- liefore drawing in the Ixioks. The gnmping may he altered
each time so as to present a fresh problem.
WT-^'-i
32
teachek's manmal.
Page 7. REPRESENTATION. Review. Optional.
Notion, in tliR illustration on tlm ilrawinfj-liook fugs-, li"W tli.i diffoi-pnt
kinds of lines used for the toii-pot luid tlio tumlJer show tlio iliircrence
Iwtweeo earthcnw.ire and dclicato filass. Obsmvn, too, liow tho fainter,
incomplete lino of th'; farther lower ed^e of the tumbler suggests its
distance.
If ' -orated objects are used for study, let their ornument lie as
simple as possible and do not liavo it made conspiciiuus in the, drawini;.
The forms studii-d and tiieir relation to each other in llie fimup should be
the chief consideration.
Page 8. DECORATION. Space Divisions.
It will be well to make preliminary experiments on practice paper
Ix'fore drawing in Hie book.
Tf an origiTial design is to Im made for a tile, use for 1h» iinilerlying
idea one of the skeleton outlines given on page ft. Keep llie design very
simple, using only slraight Uti.'s. Tinisli in coiitrasliMg masses of liglit and
dark. Use jiencil or brush and ink.
Page 9. DECORATION. Space Divisions. Light and Dark.
See suggesticms for the preceding page. It wc.uhl lie a good pi.ui m.
make two tile designs alike in space division, varying the arrangement of
light anil dark.
Designs of this nature have been use(' tui- centuries liy workers in
stone and wo,«l, producing mosaic or " par.|uetiy ' ll.i.iis and wal 1 surfaces,
contrasts of color iieing prixlueed by diHerent kind- of wood or stone.
Page 10. DECORATION.— Examples for Study.
Pupils will like to look for tiecorative figures like thost! in the Gothic
examples. They can often find them in caip.<ls, biKik-covers, oarve<l or
painted wotxlwork, and especially in church buildings and furniture. This
l'ltAN(;'s Ni;W Cil.ADED COUItSE IN DliAWING. 33
i'ull'f n *^r-''":""'l '""'"'"■■" -- '' »I--'' favorite of m„li.val
..U ,c.l„,.-bu.l,lo,s ,„ ],ur„,„.. Tlu,v Mk..,i it l„„h fo.. its inhoront l„.auty
ud fur Its a»s„n.„„„ „ith H.unl, Cachings ah„ut tl,„ Four Gospels whii
tell one gnat storv.
The l»,nl,.,-s at the .ight a,ul left are E,.yp,ia„, tlun.gl, the Greeks
la er „,a,le frequent u.e of a fret like Figure 1. The Egyptians put a
sole,,,,. „,ean„,g „„o .11 their u,.„a„,e„t will, whiel, «e ai^e no., fa.niliar
heeauso ,t «as or„a„„ „l ,lesig„e,l for t..,„ples, to,„l,s a,„l n,u„„„v-c-ases.
The ,„t,-,cate eou,se of the fn.f in Figu,-e I „,ea„t to tl,e,u the wanderings
'I* ."'" ,'"'' ' """' ""■"".«•> f"'-". nfUT fo,-,„. W|„.„ the 0,-eeks, later
.les,g„ed th,. ,sa,„e o,- sio.ila,- o,„a,„e„,, it is p,-ol,aUe that they eare,I onlJ
tor Its lieanly as a ]iatte,M.
Figu,vs 1 a,„l :) .how ho„. .i,„,,,.. ,.„„t,-as,s of eolor ,„ay l,o exp,.essed
With lllC pClK-il, ^
Figu,v 4 is eopi,.,! f,,„n an ancient Pe.sian nianus.Tipt in the British
.Museun, I,s o,-,gin is u,„.e,.t,u„, but, in the original, the lower, ste.n-like
pa,t w,th the sp,.ea,ling leaxes was coIo,-e,l g,een, the upi>er part rose-red,
suggestnig that its nxitivo was p,olial)ly a flo«er.
Kigu,vs 5 and C a,-e studies in spaeenlivision p,„.e and simple. It is
.nte,est,ng to see what beautiful effeets can bo produced with few lines and
sliapes.
Figu,.e 7 is a pi,.to,-ial sketch of the .lwarfH..orneI or " Imnch-berrv "
use,l atterwa,.ds as a l»sis of the tile designs 8 and 9. Notice that 8 and
9 a,-e ,„.« pictures, but show a .Ic^o.-ativo t,eat,„ent of the general form of
.he gn,w„,g plant. They also show what difte,-ent effects n.ay be p„Klueed
by ,hire,-ent ar,-an«e,n™ts of hght and da.k, while the actual space-division
ren,ain3 the sa„,c.
Figure 10, a design suitable for a ja-inted silk or cotton stuff, was
made by «.,„g the suggestion of a fou,-.petaled flower or a whorl of four
leaves
Page 11. DECORATION.^-Optional Exercise.
If a bo.der is chosen to 1« eopie,! or use<l as a suggestion for original
>ork, let the dniwmg 1„ thr« inches deep nn-l car,i«i across the pa«e
leaving good mai-giiis. '^° '
34
TE.VCHEU'S MANVAL.
siiuar
■h tint'.
In' iii';i\vii in tlio given spjn;o,
Tf a tile is chcispn, tw
and a design armn};fil in f u'li
A profitable exercise may be niadi! i.f tin; study uf a tluwcT in- a twig,
as in figure 7, and its dcconilivo tivatnient for a tile oi- a panel as in ><
and 9. Make tlio pictoi-ial sketch at the left <.f i«iL'e 11 and place the
decorative panel at the right. Do not attempt elaborate designs. The
simpler they are the k'ttcr they are likely to 1-j.
Page 12. REPRESENTATION.- Pose Drawing.
Refer to page 19 for general advice about exercises in pose drawing.
The illustration on page 12 in the drawing-book is gi\en to .show simple
and effective ways of drawing hair and clothing. Call attention to the
lines of the dress in the lap; they sho\T that the thigh is horizontal, and
consequently make the girl /.»<* a. if she were reidly sitting, and ii.pl
simply leaning against the support. Lead pupils to notice also the lines
in the sleeve near the elbow. They show that the arm is bent at the
ell)OW joint. 'Without some such sign of muscular action the arm in its
present length would be likely to look simply dwai-fed in si/e.
Page 13. REPRESENTATION.— Imaginative Drawing.
An nteresting theme for this exercise may often be found in the
history, geography, or reading lessiui recently studied.
Page 14. CONSTRUCTION.— Pattern Drawing.
A study of the printed pattern-sheet of the s.iuarc pr.sm will be helpful
here. Let pupils think how the pattern would ha\c to be modified to make
a box with a hinged cover. Ask them to plan and draw on |iractico paper
a pattern for such a Ihjx, making it of gi>.Hl proportions and, if jiossible,
adapted to some definite use. Drasv again on p.ag. 1 1, making such improve
ments as experience may suggest. Before Ijeginning work on the book-page
plan the size and placing of the pattern so that it may look well on the
page. Draw freehand.
I'KANC's XKU <liiAlJi;i) CulliSK IN' iJliAWINi;. 35
Page 15. CONSTRUCTION. -Pattern Drawing.
Hep-'-t- the scnemi tl„.,n. of p„g„ 14, dmvving this time with the ruloi-
an, «.„„,,.- at exact m.-aMM-,..,,,,.,,!. Pu,,ils «iil l,.v„ „„w ideas al,.ut thei^
l,atten.», an.i w,ll «.» f,,.- theu-sch,.,, ways uf i,„,,n»i„i; on what is ah-eady
Page 16. CONSTRUCTION. Pattern Drawing.
Ka,-1, ,,u,.il sl,„„l,l have ,„■ I,is desk . ,„„d,.l of the ■■iKhf-anMed tri-
angular pHMM, f, , ^l.i,,, ,,« „,,y ,,„,,, f..^ ,,i,„,,,,f ,„„/ j,, ,|;_,^^ j,,^
pattern f.,r a si.uilai- (hollow) fuini of p,qm:
n< not tell the el.H.hen what to draw, hut lead then, to tell how they
wd ,,la„ fo,. tl„. ,«tte,.,,, the ..u,nlH: and shape of the parts of the patten,
and how t ey vdl anange the joining of these p.a,.ts to make the co„,plet«
put e,.,.. It .s .vaddy seen that there n.ust 1». as n.any parts to the patten,
as la p,.,s,„ ha. fa,,« (,,..), ,„,, j,,^^^ j,,,,,^ j„^,^^ ^^^^^^ correspond in si.e
and shape to the ,.,. „n,.e ohlong and two triangular. The j ng ef
the pans n.,y l,e n,ade „> several ways; l,.ad the chil.lren to .suggest ti.ese
ways an,l ,0 choose the they think is l.st. In deciding this H.ev n,ust
bea. ,„ ,n.nd not only the convenience of folding and pasting the pattern,
but also the arrangen,ent that will ada,„ the drawing of the patteri to the
paee on he drawn.g.hook page. Try to have then, carry ti,e thought fron,
the ohject ttself to the thought of the pattern. The thought that the
convspond.ng parts of the pattern «,ust exactly coi„ci,le will help them in
securing accurate proportion. Have the,„ n.ake a ,pdck sketch, directing
he pr,nc,pal thought „, the nia.ter of projK.rtio,,, .Vow let them exa.nine
).e,r draw.ngs carefully and in.agine them cut out an.I the pa.ts fitted
together. .Such an exe,-cise of the iu,agi„ation will aid in .leveloping the .sense
of ,>ropo,.t,on. ].e..d then, to plan ,0 adapt the si.e of the drawing to the
space on the draw,ng.l„ok page. Another quick .sketch n,ay be „,a,ie, just
>,ough to test the p an. Here again the children will recognise the advanige
o be gained fn.m iKwng able to vary the .scale of the drawing to a.]apt it
to any g.ven space, while by ,etai„ing the propo.tion the e.s.sential facts of
he „„»!e .y^ ex,,res.„!. Let then, sketch the pattern lightly, giving
thoughtful at,e„„o„ ,„ proportion, then (inish with clear, careful iLl
fc-W.
36
TEACHEli's 5IAN1AL.
Page 17. CONSTRUCTION.— Optional Exercise
See page 23 of this maniml for Kiij,'i;ostioii« iihoiit tlm clesigiiiTig of
envelopes. So many different kinds of envolc.pes ai-e useful fur diiTctcnt
purposes tliat several exereisi's niiglit pi'oHtalily lie devoted to tlie sul.jcrt
Bear in mind that tlie puriwso of such cxereises is to develop tlie
pupil's practical common sense, his constructi\e imagination, and his mastery
over his own hamls. If additional work in eonstrueticm is desireil for the
cliiss or for special individuals, a .iai)er hox made by folding and cutting,
without the use of glue, will be founil interesting. Tin- pattern, as shown
here, may be drawn on the board and e.ipied to occupy a fi x C squai-e
paper. Cutting should lie done on thn liniri/ Hii'-ii mi'i/.
The light liiu's are for creasing and folding. A little familiarity with
the pattern will enable ingenious pupils to fold without dniwing tho light
lines at all. Make up, as shown in the sketch on tho drawing-l)Ook page.
This Ijox was made
from a six-inch square
of paper .acconling to
the given pattern. The
")!
21
Imse is L'i in.
in., the sides J in.
deep. The slits in the
triangular corner flaps
were cut ^ in. from
the vertices of the
tlaps.
IJoxes m.ade in this
manner may show a
gT-eat variety of forms
according to the way
in which base and
sides are proportioned
to each other. Beauty
of pioportion should
always be aimed at.
i^.-'xtjv^^im^-
I'ltAMi's XKW <H:aMI) COLliSE I.\ Dli.VWIXli.
Page 18. REPRESENTATION.-Grouping.
Hofi.f to jiii^TH 14 ir, of tliis mnmiiil fur suysestidis alioul tlic
armnyciM.Mit of gnnips of ,w«\rU or objivis. K.,couraj.o ],u|.ils to iirraiiKe
gl-ouj.s «lii,-l, sli.ill jjiv,. a jiNvisiri- ..ft'oct iin.l ,it tlic siiliiu ti no t.'ll sorn.^
stiuT. For cxiuni.l,., a l,oy's ca)) grouped «itli a top and t vo or tlirw
inaililes i.ii^lit sug-.'st "Spring is licr..." A toa-iwt wit!, a cup and a
sauw-r Mii-lit mean "Viw o'llook tea." A candv-lxix and a spray of flowers
miglit suggest "Ni)niel.o,l,v's lurthday." Pupils will l.ave good ideas of tliuir
own if orico set to thinking.
The rendering of a gr.iup of ..hjeets— that is, the quality and the
variety of lini> used -should he sueh as to suggest tli.^ leading id,-as of a
group. ThiTifore, in i pleting any drawing, keep in niin(i the whole
thought whieh is to he expressed, and aim to express as far as possihie,
by the rendej-ing, the saiiio ideas that weru especially considered in the
arrangement of the gi'oup.
The rendering should be sueh as to show the relative importance of
the parts of a group or a picture.
Page 19. REPRESENTATION.-Grouping. Rendering.
In artistic rendiTing in cjutline, the ju'lncipal aTiil the secondary objects,
the nearer and the farther ■ '.jects, the light and the shade, are all niad.^
manifest by tiio ditrerencct in quality and emphasis of lino. The princijial
object lias the strongest emphasis or accentuation, anil all other objects
receiver less in pn.p.irtion to their im|.ortance. This must be carefully
borne in mind, for aTi eager worker often forgets the need for pxru-cssin""
the relati.ui betucen the princii)al and the subordinate objects, and
emphasizo.s all e.|uaily, i)roducing a staring and "spotty" effect, quite
ditVerent from that pr.«luced wh,-ii a due regard is paid to sulwrdination
of the less important and appreciation of the more important parts. In
the rendering of scLundary objects strong conlrasls shoul.l Ix) avoided ; the
efl'ects of the Kecon<hiry objects as a whole should be subdued.
38
TEACllEli'S 1IANU:VL.
Page 20. REPRESENTATION.— Flowers from Nature.
See jijijies 24-26 of tliis ninnual.
Ciiiwiclcr wliothcr a vertiiiil or ,i liorizniitnl (iMoiig will Ihi morn suit-
able fill- thr particulai- tliiwers tliat an; available fur sludj'. Draw two
suitalilo oblonga on piactifO \m\n-f for iireliiiiinary experiments. Consider
liow the molivo niiiy 1)0 Ix'st arranjjeil to make its contrasts with the o|u'n
spaces agreeable; try to expi'ess tlie life and grace of the nioli\e in the
lines, masses, or colors ; but keep all the treatnii'nt Hat, without ex])res-
sion of light and shade. Study, however, the relation of light and ilark.
Repeat on the drawing-book page, improving the composition as nuieh
as possilile, but keeping it very simple. I'inisli wilh pencil, brush and ink
or color. It will lie interesting to use the mimic space arrangement for lioth
oblongs, but to change the arrange nt as to lights and darks. Notice the
tulip compositions on the drawing-book page.
Page 21. REPRESENTATION.
Nature.
-Optional Lesson from
If pet animals are studied, gi\e tlie chief thought to propfu-tion and
action. A very few lines may give the eft'ect of life nmeh iK-tter tlian a
labored showing of all the details. Notice, in the illustrations, liow the
line used suggests fur rather than bare skin or hide.
It flowers are chosen for study, as motives for composition in oblong
panels, let the pupils try several experiments on practice paper first. Each
experiment will suggest another— perhaps a l»4ter— arrangement of spaces
or of masses of dark and light.
If color can be used it will be intcivsting to fill Iti the spaces with
flat tones, that is, tones of even strenglh, with no attempt at making the
flower "stand out" from the background. Use only two colors, one for
llovM-is, one for leaves, perhaps white for background. Or, the flower.'* m-iy
1)6 left white on a colored backgrouiul.
riUNG'S NEW OIUDEI) COUKSE J\ DKAWI.Vd.
39
Page 22. REPRESENTATION. Nature.
Tl,e purpose ,.f oopyi.iK hrm i, to cmphasi,,. i„ p„pil,. ,„i,„|, (hr
beauty „i very aiinplo ilrawinfr, well c.inpns,.,!, to till a given vpa.e Why
is a hon/o„t«l ol,i„es especially app,„pnate fur this seashore suhjeet'
Why was the c„i.,pusitioa marke, b (.Irawing-lKxik, page 23) givvn a
M'rtical spiiee I
Eiicourag(. luipils to try to make outline sketches out of .loors.
Page 23. REPRESENTATION -Space Relations in Land-
scape.
.Study good pietures of lari.lseapes for suggestions. Pupils in this "ra.le
should 1». „l,le to work with greater intelligence on account of their lon-er
study of the subject. "
Page 24. PICTURE STUDY.
reganling Pietui-e .Study on p,ige 2H of this
•See the general suggestio
manual.
The study of goc-l landscape pietures can do a great deal to open
chihlrens eyes to the teauty in their surroundings. At the same time it
should show them how to try to ■ .,ke simple landscape drawings for
thciusel\('.s,
, JTJ"""^"!^ *""'* ('81^-'8'3) i' known all over the world for his studies
of tho fields and homo, of his native France. Ho was horn a country hoy, and
he took great pleasure in drawing country children at, their work and play The
• .tory of this picttire will he obvious to tho pupils, but they n,ay not nodco at.
first some of tho little touches which show the artist's keen appreciation of summer
weather. See how the darkly shadowed side of the tree-trunk sots off, l,y contrast
the warm light flooding the field beyond where the man and oxen are at work'
Notice ho>v perfectly tho cool, rippling water is indicated.
Children in this grade can begin to understand that a well-composed picture
gives most space to that which is most interesting at the time. In .Millet's draw
lug the artist wished us to think of the warm earth and the c^ol water -nd he
took most of the space for vhe.e. .„,,.,.. ,;„^ the sunshiny sky by the dark shadow,,
bet pupils study other lanJsoapo pictures as opportunity occurs.
40
TKACllKli'S MAMAI..
BOOK III.
The Pattern Page. Tlu- m'<-f i).>v.-* f"i- «lii.l, pitt,™ »lii-,is a.c
-iirri will lie iim'iI ill rnniic'cUcn willi tlm Irssons in r,.iiMiu,-ti.iri, [ui-.'s
U !■> 17 tif til'' ilmwinj!'l«H*.
Page 1. REPRESENTATION. -Flowers or Fruit from Nature
Eiicouni,!."' IHipils 1,1 lirir- in s|,i-cMnirris from wl.i.li .-linico iiiiiy In-
nmili'. Bffuro tli.'se n.-o -iitli.'ivci, U\k «ilh lli(; pupils almut tlio r..<>ni
thoi-o is for ciioi.v. S-mio iiro «lunt<'il an.l dwuifcl, cw mv unliiiliinc-cil, in-
,in- ill Konio «iiy l.liMiiisliod tln-ou-h aiviclrnts nf ,i:r..wtli. Tlics., slmulcl not
l«- used. A>k tln^ [luiiils to look for IIow.ts oi ". iii» that ai-o unlilriiiiHiifil
imd well d.-v.'loi«.d. And tli.'ii 1.™1 tli" I>"1'' "' »<■" tl"'t Hi''™ '» '""
only fhoico lis to tlio Howit or fruit, liut as to its npiH-niniico from dift'crcni
sides. Call atleiilion also to llie exiiressiveiie-s of the leadiiu,' lines of
•^rowlli.
Let caeli luipil work from a suliject wliirli is al a little distance away,
so as to j;et tlie j;i'»erid ellect. If pupils draw from an olijeet lliat is too
near, tliej"are lik.'ly to lose si-lit of the whole while giving undue attention
to details.
Page 2. REPRESENTATION. -Oylindric Objects.
T.,et eaeh pupil hrini.! some simple eylindrie oliject from home,
desks
Have
far from the eye as
cts are so
the objeets to 1)0 drawn jilaeed on the pupil-
praetieahle. The drawings will be more pleasing if the obj.
placed that pupils do not see very far down inside. Sometimes it may b<'
desirable to place the object on a l)ook or a pile of books at the back of
the desk to secure a good position for it.
Refer to page 30 of this manual for helps in studying eylindrie objects.
Let one or two nuick .sketches lie made on the practice paper to secure
correct proportion of the objects and proper curvature of the upjier and
I'ltANu'b \EW liKADlii) col USE l.\ DliAWlMl. 4;
lowr clircs. Tf the objccU stu.lir.l l,.n,. I„i,i.lli's, tli,-.i «ill 1, I ., i„iK
careful ■■li-.crvuli.>ri. '
Ii..f..i,. <lniwi„g i„ tii„ l„«,k., Irt ,,i,|.ils stu.ly tlM. rvu.ni.lu in diawin--
l)Ook, l»ago :.'. "*
This «,is ,ln,«,i f,„,n a ,,i f Im.uv i;,;,v ,M,-tl,.-n«„n. „r„M„„.„t,.,l
with .suni>l„ lM>ii«„„ul ImiMls „f ,l.,rk l,lu,.. ,S,.o l„,w ti,„ t kn.-ss „t' li„.
ware is »»i;^.,..sl,.,| „t tl.c t .\„ti,-„ eHj,,.,- y tli,-,t tlic ,..l-„ r..,.,,.!.. .n.-r,
xlmwiny tl,;,t it «„ul,l )h3 i,l..,i»nnt ti) tlio lij.s nii.l n.,t si,,.i|. lik,. ,1 k„iC,, ,\
tin tup i]iij,'lit l.iiM) a luMcli imn-.,»(.r (hI;;,., l,ut tl,i,t ul-.i w,,iil,l 1„. s<m- t.i
roui.cl a littlo »•.,!■ tiio s,ik,, „( <.,,„v,.„i,.Mro ami safely in liiiiikii,.- Tliv
illustluti.ui also f;iv,..s laOps in iviulcnn- a han.ll,, of any tl.i.k inati.r'ial
I'lat, nbl»m-l.ko lian.llfs pn'sci.t a sii-htly ililli.,vnt i.n,l,I,.n. an.l nn;\
ra]-cful oUvTvulir.il, Sci! ilravviii^' linok, jia;;!' 4.
Diaw li,i;l,lly at first, liiakilig XU: sU'WU of ,,i-„,„.|. sizn U- ll„. «,„„•,.
If tlio oiijVcts slu.ii,.,! liav,. ,.l;,l,,„al,. oniaim.lil, leave tl,at out.
Page 3. REPRESENTATION. Grouping. Rendering.
Sen pages U 16 of this luamial for iliiwtions in legar.l to gioupin-,
anil page .'IT foi- suggestions aliout artistie renileiing.
Page 4. REPRESENTATION. Angular Objects.
Several .sinijiie baskets slioul.l he provi.le.l s„ that eaeli chihl may see
tlio appeara.Ko in an attlaetivo «ay, involving not too ni.u^l, foivshoitenin-
It would 1)0 well to have the baskets plaeecl at iitiite a (listanee from tiu'
ehil.hvn in onler to avoid the evpiessi.ui of too mu li detail, and with t,H,
niueh emphasis. Try to have the children un,l>.|-siand that although a
great iuiuiIrt of splints or will.nvs «/« Im .seen in some baskets, yet one
does not .see them all in lliiur entirety in looking at the basket as' a whole,
just as when one looks at a tree, one does not .see all the leaves; and to
represent them in the drawing would not tell the truth of the appearance.
Tlie tendency, in drawing a eoinpaiMtiveh- sIuiUmv.-, nlilon" bjisket is
to draw the top wider than it really appears. This matter" may' need
siM.'eial observation.
43
TEAClIElt's MANl'AL.
Tlio apiioiiiame cif a 0at liHKkei-lmiiillu, in tliu iKmilinn hIiuwii liy tin'
illiiHtratloh, ul«i> II Is ciiri'ful «luily. Noti™ linw tliu furtlur eilno of the
liiiiidlu (limipiMiiii^ anil then roapiwiim. .Study this in Ihii olijitt itst'lf.
Page 5. REPRESENTATION. -Model Drawing.
Miilio scviTiil »k"l<-hfs iif tliK MiiKlfl in iliffiTciit iKMilicms, u»in){ loiw
slieots of |ir)iclire pupi'r. Wlien tluj oljwrMilioii \m>t iKH-uiiit) ftiiily :ifi'Uf(it<*
h't oiiu liiij-r uutlinu ihiiwing lie made, well [ilmi'd i.ii tlio drawiiiglnxik
|iugc.
Encourage all thr (iiit-ot scIuhiI NkotchiiiK thn jiuiiils will do llmiiiilii/iilli/.
If tlu'y wish tiJ atli'iii|it buildings with roiifs iiku tlio Hhipiiiy »iil('s of
triangular piisruM, try In luivo thi-in draw >4inipl(? thiri),'«, i.r., Imnis and
sheds, doj,'-kcrinels, chiekcnccMips and bird houses, rather than ilwellini,"<
with bay windows and piazzas, iiivoIvin{^ eoinpiiuateil proldeins of [n-rfj'ee-
tive. They will find that when a form like the trianj,'ular iirism is alnive
the level of the eyes, as is the case with most roofs, tlio edf{es a]>pear to
slant in a direction dilferent from their direetion wlien Iwlow the eye.
Htudv of these variations in appearance makes an adniirahle praetieu in
tlioughtfut m'f'iti'j.
Page 6. REPRESENTATION.— Grouping.
Tj't this exercise lie a review of the pupils' knowled;;e of the different
forms. K.xpM'iiiiental sketches on jiractice paper will ijuickly show which
forms most need further observation.
Make ono drawinj^ on the page, with special care for gotsl grouping
and agreeable placing on the Jiage.
Page 7. REPRESENTATION.— Review. Optional.
Help the pupils to select one or two lieautiful objects, or a fine vkso
with a litvautiful fiower, and to arrange the study so that the light will
bring out tlie greatest beauties of the objects.
To secure a condition favorable for gmsl results, lio sure that the
pupils are far enough away from the examples studied to see their beauty
l'll.VX(i'S NKW (IKADF.t) COIKSi; FN |il!A\M\(l. 4,'J
a.H ft wl,„l,. A.k 111,, pupils In siu.ly wlmt ih.y un. hI«,uI |., ,I,m«, t,.
1'''"'" " '"'ly '!'« K'-""!! wiiliiii ill,, „,,„,.,., ,„„l ,„ ,,„„i,|,.,. l,„^^. ,„„| „|',„,.,
to K,'t tlm U'-t i",ssil,lu i.ir,.ct iipuii tl,..ir Hp,i,.o. It' pupil, rliil ,i |i,i|,.
inoro thinking IhIoio Blurting to <inuv th.TO w„ul.l Iw f.nv,.,- f„iluri-s. ba
.ill tl,o first liii,.s 1« viM-y f,ii iu,t .■„n.si,l,.nili.,nH „i tli„ spa.^u nn.l tl,,'
lumliug liiH-s m a» t,) .iv,>i,l ,listurbing ih,. l,..viun. „f il„. p„p,.r l.y uiasir.-
Page 8. DECORATION. Space Relations.
Muny of tli« U'st l,o,,k«,v,.is a„,l pnniphl,.t-,..,v,.rs ,l.p,.u.l f,,r ij,,.!,.
lK,.iuty „n g,>,i,l li.tt,>rinK, »" pUccI ,„ |„ nmkc pU.sing ,livisi„„s „f i|„.
apace.
Ki.|.(, tu v,.r-y simple (l.'sigris, h,th of spHce-ilivisiori ar„l of li.iterini.'
As a rule, simple, cisily l,.j-il,l„ |,.tt,.,., „,.,. 1,,„. Elabomtu uoveltiea in the
aliapo of leltiTs ure uhiiost certain to Ih, ImiI.
Page 9. DECORATION. Space Relations.
The ilesif;ns ;;ive,i on the <lrawinK-l),K,k pafje suu-.^st tli^.t :, leaf or a
four-iH^talisI ll.nvcr may Imve l)een u»e,l as a motive.
lA't the pupils make cxp<.rinieiilal ,l,.signs of their own, within sipiare
outlines, on practice pajwr, using plane geomi^tric figures or taking him,
from nature, a, preferretl. If le,iv..s are us,sl, av„i,l ,,11 elal„,raie cuiiinj. up
of their outlines. When satisfactory itsuIIs have Ih'cii rcachisl, let ea.h
pupil put his ..v: ;.. • :l„,w on the drawing-lxmk pa-,'. Two ,l,.signs may
he drawn, o-.' o.,e ...m,., may be gix..n twic,., with ,liHering arrangement's
of ,lark anil light.
If color can Ix) use,!, it will he interesting t,, i:olor the ,l,>sign, .is if
foi' earthiMlware tiles— blue on white or white on blue, dull
brown, etc.
yell
Page 10. DECORATION. -Examples for Study.
Lead the children to give thoughtful study to Figure 1 on tli.
drawing-lxxik page, to notice the g -ace of it, flowing curv,-, and th,
laiigeiitial union of all it, lines, that is, to their growth out of e.aeli
other. Ticaf stalk, always join the parent stem tangenlially, or in a
WtL'y-^^ ^flTn-
11
TI.ACHKli'S MANUAL.
ilirccti..,! which, if cntimii-d, woul<l i.ialio loaf stalk and bmnfhes flow
^>eiitly tofii'tlu-r, iii'itlu'i- one cuttiii!- diivctly across the othci'. This tan
gcntial union of linos is also soon in the parts of a feather wh.To tlioy
join thu main rili, and in the nlid-ril) and veins of loaves.
Vigorous, r..iin.l curves like those in the example were s|iocial favorites
of the ancient llonian artists centuries ago. Scrolls liko those wore |)ainted
witli the brush. Tn more elaborate forms they were carved in stone.
Figures ■_', ,•?, and 4 show how design.s for tiles or larger surfaces are
based on .sonu- undorlving gooiiiolric plan, in or.ler to .secure rhythm in
the result. The underlying si-heme or skeleton may bo m.M-oly the division
of the spac(^ into s.iuiiros liy means of voi-tical and horizontal lin.'S (Figur(!
■2) ; it may depend on a vis'ible or imaginary skeleton of vertical, horizontal,
and obli.iue linos, producing level s.juaros and s.juares on their diagonals
(Figure 3) ; it m.ay dep<'nd on a network of circles just touching each other
(Figure 4). Thi'ro are many different ways in which the underlying plan
of a surface pattern may be thought out.
Figure D shows the origin of the ideas used in working out the design
of Figure 4. They wore gathered from study of the flower and leaf of an
Easter lily.
Page 11. DECOEATION.— Optional Lesson from Page 10.
if the Koinan scroll is chosen to be copied, special care should bi^ given
to the study of its pi-oportions, in order that it nuiy have the same
character after being enlarged. The coj.y should be made three inohes in
depth and eai'ried across the page, leaving gocsl mai-gins. Preliminary
practice on h«>se sheets of paper will lielp pupils to get the spirit of the
curves.
If pupils are provided with brushes, lot them draw this scroll with
brush anil ink instead of with the pencil.
If preferred, two scpiares l.iiiy Ivj drawn on page 1 1 ami used for tile
designs or surface coverings. Tl'.ose may lie copi.sl fiom page 10 or made
liv thoughtful modification of the examples there given.
I'EANU'S NEW GUAlnCD C'OCli.Sj: ]\ DllAWINll,
45
Page 12. REPRESENTATION.-Pose Drawing.
Pupils are always likrly („ ,1,,,„ f,.rt, .„mI li,iii,I, „„i,h t..u small
Tx-ftil them to study tlic i,rui„„.tin„s ,,f il„. ,,,,.,,1 ,„„,1,.|. S naiiual,
j«igo ID.
Page 13. REPRESENTATION. Imaginative Drawing.
The purpose of exercises of tl.is uatun- is I., -ive impils a eliauco to
do free, cr-eativo work. Themes taken fiom the class woik in history and
literature are often most su-gestive. S times jiupils like t., illustrate hits of
their own jiersonal exiK'riemv. Their discovery of tlii'ir own limitati.uis of
power should make them the- readier for serious application to work in the
lessons which arc mure ilefiiiitely guideil.
Page 14. CONSTRUCTION. -View Drawing.
The pattern and the views of a m..del are very different. \'ie«s are
M,t pictures of faces nor diagrams of faces. They are st.ite.ucnts in regard
to the sjiacu which a forjii occupies.
■J'ho front view .shows how much space the f,u-m taki's up from top to
liott(jm and from left to right.
The top view shows how mucli space the f.jiui lakes up from hack t,,
front and from left to right
The side view shows how nmch sp.ace the f.,rM. lakes up f,-,,,,, top to
l«)ttom and from ba<-k to front.
The teaclier shfuild keep this clearly in her own mind, .\ view mav
sometimes Iwpjien to give just the same .sha|M3 ami ilinieusions as the
pattern of a face, as f.,/. with the cuhe ; hut the one has no nreessary
.■eseml>lanee to the other. F.u- instance, the cylin.ler has no plane ohlong
face; yet a front view of the cylinder is expressed hy an ol.l.mg, the lieigh't
of the ohlong showing the sjiace iKrupied hy the cvlinder from top'^to
Ix.ttom, an.l the wiilth of the! ohlong showhig the space occupied l.y the
cylinder from left to riglit.
Let the diagrams on page U he ohserved with this i!is(hicii,,n i,. ,„i„,i,
46
teacheb'8 manual.
Have the pupils make rapiil freehand view-drawinys of two different
models on pmetiee paper, in oidcT to be save they undeiatan.l exactly what
they are trying to tell by their drawings.
Page 15. CONSTRUCTION.— Working Drawing. Pattern.
The different kinds of lines given in tlie nppM- rifjht corner of the
drawing-lKK)k page are the principal "conventions" used in ordinary work-
ing <lrawings. A convention, in this sense of the word, means something
arbitrarily fixed upon for a certain use and accepted by general consent
and general practice. Three of these conventions -the full-wlge line, the
connecting Hne, and the measuring or dimension line— are used in the
working drawing of the simple, oblong block, shown in the upper left
corner of the page.
The pupils should first "read"
the working drawing and know ex-
actly what form it descrilies. Then
they should think out for themselves
the pattern for a similar form which
might be made into a hollow model
of paper. Figure i shows one way
of drawing such a pattern — not the
only correct way. One might begin
with a narrow rather than a wide
face; one might eoncea\e the two
smallest (end) pieces as attached to
a wide rather than a narrow face ;
the practice in actual shop work
would depend upon circumstances.
As an additional exercise, let
pupils cut and make up the patterns
for paper boxes given on the pattern-
sheet in drawing-book No. 3. Then
let them stwlv and draw on practice paper top, front and side views of
each box.
riUNG'S NEW (UlADKl) (OlliSE i.\ J)UA\VI.\(i.
Page 16. CONSTRUCTION. Working Drawing.
A " vi,.w-,lra«-i„f; ■■ l„.,.„„„.s a «„„,,l,.i,. w,„-kiM^Mln,wi„g wl,™ .li„„.nsi,m
l.nes mc a,l,l,.d s„ tlu.t it (jiven all tl,e ,„un,.ular.s m.c..ss,uy f„r a practical
w»rk..mn,s mfnrmation a.ul dirccli,,,,. Show tho pupils that, wl„,c,. the
v,..w-d,.aw,„«s on the <lm-vi„g-b.K,k- page tell the fa,-ts of the form, as pui-e
form, thoy give no hint as to si«.. Tho working .Inuvings are .lotinite.
U-t pui.,ls rcml all ,1„. drawings on the p;,g,, telling in words e.vactly what
Iho drawings tell in lines. •^
Make a working drawing of so.ne sin.ple, fa.niliar ohjeot, showing two
fia'Ttudv """ ' """'■''■'""' '"■ " '"' '""'■I' '"- «"«l-l ■"«l<e a g-«l sul.jeet
Head what is .sai.l on the inside of the .lrawing-l«„,k cover ahout
ilrawmg to scale.
Page 17. CONSTRUCTION. -Optional Exercise.
Wtmly the ho.xes ma,le up fro.n the printe<l ,«ttern sheet. Ijesi,.,, and
draw the pattern for another box, well adapted to s e special use, e.,j.,
a pencil Iio.n, a ghive box, a lj(.x for
ni'c-kties, etc. Make the pattern ac-
cording to a definito scale, allowing,
'■.;/., one half inch or one quarter inch
in the pattern to a full ineli in the
iniaginaiT box.
Figure / is the pattern of the
envelope illustrated on tho drawing-
Ijook page.
If preferreil, make a wie-king
'Irawiiig of some typo moilel or familiar
oljject. A working drawing of one
of the triangular iirisms will call for
strict observatiim and close thought,
but pupils of this ago should be able
Fio. j.
48
TEACIIF.lt'S MAMAI..
t., master tho problom. Ii. <.i-.1.t ti. start aii-l.t tl„y k1„.>i1,1 rovi.-w tlicir
kiK.»U'.l-e tl.at vifws aro nut piflures lu.r ilia-i-aiiis ..f faces, hut merely
stateiueiits alwut tlie sjiaee occupietl.
Tt will 1)0 a surprise to many pupils to seo how iiiueh diHeieiico there
may bo Ijctweeii tho f.iecs ami the views of a triangular prism. See
Kiifu es k ami I-
Via. k. Views of a right-un«l ' trlaiiKular prisiii In fi.iir difffreiit |«.~ilioiis
A
O^ ^
Kio. 1. Viovva of an oquilatoriil 1 riiuit'ular prism In tliree dllToi-.nt positions.
Page 18. REPRESENTATION. -Grouping.
Keeall tho suggestions of manual, jiiiges 14 10, in regard to grouping.
Page 19. REPRESENTATION .-Grouping. Rendering.
Keeall what was said on manual, page 2+, in regard to rendering dif-
ferent materials hy different kinds of hue.
Page 20. REPRESENTATION.— Flowers from Nature.
Pages 24 26 of thi.s manual explain tho differenee hotwoon pictorial
sketches, botanical studies, and <lecoratlvo treatment of a piaiit form.
a tlifferent flower fn
PliAXG's NKW (ilJADEl) COlIisE IN DliAWlNd. 49
FolI„w o„« „f tl,es„ „u.,l,„,l,. Tl,. illustration ,m tl,„ drawing-book page
.s a p,eto,.,al sketch vo,y si,„,,ly r..n,l..,od in outline. Tlte flower con,po.si.
.on on the last pa«o of the ,l,awi„K.l..„k an, exan,,,le., of deoora^ive
.■eat,n<.nt. Ihe,.- ntain ol,.jo.t is to ,„ .„.„ a Ix.autiful arrangement of
lines and of masses of ,lark and light, within a,, enclosing outline.
Page 21. REPRESENTATION.-Optional Lesson.
Continue the work of tla; i.rcceiling ,,age, usin;.
a motive. Use eolor if praetieable.
an„nal. Work for correct proportions and a life-like pose, bu. ve out
unimportant details. - = ^.^v
Page 22. REPRESENTATION. -Landscape.
Notice es,«ially the simplicity of the rendering of tree-mas.,es. If an
original .sketch is attempted, do not try t. put in everything that is seen,
rndicate only the most interesting aspects of the subject, as the sketch
here indicates the o,.,,, hilly field, the cosy house just lyond its sumu. t'
the trees in friendly nearness, and the inviting pathway.
Page 23. REPRESENTATION. Space Relations
Light and Dark in Landscape.
See the .suggestions for similar exercises on page 38 of this manual
Wo,.k either in outline or in masses of light a,id dark. The outline
composition may lie color.d if practicable.
Page 24. PICTURE STUDY.
,'gestioMS regarding Picture Study, on page 28 of this
See the gener-al
manual.
Children are naturally interested in drawing people whom they see or
remember, or imagine. The study of really .oo,l fi,„,.e drawing n,..; !«.
made exceedingly helpful, as showing how artists ,,n„.eed
4 '
50
TEAUHEU'S MANI \I..
A oharcoal drawing by the colobrated Fronch piiintor, Jean Frainjols Millet
(1814-1875), h given in thn ilrawiiig-ljuok. Millet h.iil stu.liud in I'liris and knc-w
tho boautitul paiutinjjJ of tlio old mastors in tli.i gruat pictiiio g illi'iios. Imt lii<
heart was with the )iUun, hiirl-workin;,' rountry (I'lk aniiing ivlicru lio hnil »iiiiMt
his childhood; and lie iluviitod liis hmg lito to studying and Blicwiiig to others the
dignity and courage and sweetness that may go with iMjvorty and toil.
This peasant woman seems to be resting a iiiomont before taking up her heav_\-
burden. See how jierfeotly iiatiiriil tho pose is, and hi.w f.'W linos the artist used
to tell the wliole story.
Raphael Sanzio (Itnly, 1 183-1520) was one of tlio greatest artists that ever
lived. Many of his pietitrcs of tlio Madonna and Christ Cliild aro well known all
over the world. His drawing of the Piper shows tho \iso f.mr hundred years ago
of something resembling our Scottish bag-pi|'09. Lead the puijils to study tho
principal lines of the figure and especially to notice tho positions of tho legs and
feet. Let thom experinnuit for themselves, ami prove tho truth of the artist's
drawing. This will help them to put more life into their own .Irawings of persons
walking or running.
The outline of the muscular arm, seen beside tho Pipor, shows how Raphael,
like every great artist, was constantly observing and itiakin;,' quick sketches, in
pre|iaration for his more ambitious work. It was by means of such unremitting
study that ho became a master of his art.
The examjilcs of Flower Composition should he studied chiefly f,.r tlieir beau-
tiful space relations. In drawing flowers or grasses, the true purpose is not served
unless both the flower and tho vacant spaces around it are beautiful. As soon
as children once grasp this idea, they realize that a g"od llower-com position has
in it even more to enjoy than they at first supposed. The com].ositions reproduced
on the drawing-book page are decorative in their general olfect; but in pictorial
drawing also thought should be given always to the placing of tho flower so that
the spaces around it will bo pleasant to the eye. (Seo pa^o 21 of this manual,
where tho difference between pictorial and decorative treatment is explained.)
The small flower panels by Arthur Dow are so well composed that they
would be beautiful to look at merely as blots of black and white, it wo did not
recognize the flowers.
1'11A.N(1-.S m;w GJiAiltlJ ((JCIISE IX lUtAWlNU.
51
BOOK IV.
The Pattern Page.
of 11 hiillinv cone) will l,o ij>
of the ihawiiR'-buiik.
Tlic
I'-iil.Tii „f tho dnnking-dip (the friistiini
'li'cl tor stuilj- in nmjic'ctiuii with jMgfS 14-17
Page 1. REPRESENTATION. -Flowers or Fruits from
Nature.
Tl,« al,l..,.l,f.n.v s„owlK.ny, hittor swoet, „,„] ,v,„„n,i„e arc good as
...lee„o..s il,e f,.u,t„..,, or s,.,.,l vessel, of tho h„, -k, h.,,„.e„l, shepherds
pu,-.se unikweed and ,„se hips are all very Ix.autiful a„,l not only are
■meresttng snl,je,.ts f„r a ,h-a,vin. lesson, hut arc e.xeellent a.s motives for
(leco.ative design an.l for Ireatuient in ink and water-color
"\Ve<Kls," as vo eall then,, are often rare plants in so„,„ other
country. We pass the.u I,y because they are so eo.nn.on, growing every-
.ilieie hy the wayside, in tlie field or meach.w.
See suggestions on page 1:! of this manual in regard to tho arrange-
ment of speciinc.iis for sludy. '
. , '"■;"' I" ** '" '*"■" '""■' "«' rendering of the clover lieail on the draw-
..ig-h....k page, Iiy its very omission of details in tho Horets, gives a hint of
la-.gl.t sunshine falling on one side of the hea.l as well as on tlie leaves
I ho heavier, darker lines on the farther side of tho clover head si est
siadow there, and so, hy contrast, make the other effect of sunsliinrall
the stronger.
Page 2. REPRESENTATION.-Vase Forms.
Choose with great care the vase or vases to I» studied, that the lesson
may teach gooil taste .-.» well as faithful ohservation. Good vase form, are
..ot necessarily expensive. .Sometimes a very inexpensive bit of class or
pottery xs^ by reason of i,s i„.autiful propoiti.uis and outlines much more
beautiful than a pretentious and costly piece of ornamented ware
52
TEACHEK'S MANUAL.
Page 3. REPRESENTATION. -Grouping. Rendering.
When pupils are arranj*inj^ jjroups t>f objects for study, lead tliein tn
do it intelligently, with thought fur : —
The place of the principal ohjoct.
The place of the secondary objects.
The figure made by the group on tlic ;;niund or tabic
Partial view of some of the objects.
Upper line of the group.
Variety in the positions at tiie axes and in tlie faces visible.
Repose of the objects.
Unity <»f the group -distance between objects.
Refer to pages 14 anfl IC of this manual for more explicit directi<ins
if needed. For suggesti^ms iti regard to ex|)ressing "texture" uv materia!.
compare the line used on page '.I of llie di-awing-book to express glass, and
that used on page 1 to express the chtvcr-head.
It will be well to have preliminary skotchcs made on practice paper.
The attempt to draw a group often Icada one to discovei- a nturo pleasing
arrangement.
Page 4. REPRESENTATION. Angular Objects.
The appearance of an object as to outlines depends on two condi-
tions : — ■
1. Its position in regard to the observer. 2. Its distance from the
observer.
Position ailects the apparent /nmi of an object ; tlistance affects tlio
apparent size.
The apparent form of any object, except a perfe<!t spliere, varies wit!»
every position in whicli it is placed in regard to the observer.
Tlie apparent size of an object decreases as its distance from the
observer increases.
I'ltANu's M.\V CUiADEU CUllISE !.< WiAWIXO.
na
Measurement on the Pencil. Tl.e use „t inoas„rem.„t ..„ tl,,.
pem..l ,s t,. .suuly ,„■„/„„;;„„. Tf pupils do not aln™ly k„„«r !„,«,
t" measure m. the ,«.m.il, the f^llowi,,.; p.-.-u-tico is ,l,.sir;.l,|p. The teacher
.iraws up,,,, the l,o,ir,l ut the fr„„t of the r n vertical ob],„^r, r,f ,lilU.re„t
pr<,porti„„s. If the scho<,l««m is wi.le, it will 1„ lK.tter tu have several
such cl)lui,-s-»o,no at the left, some in the middle, and souie at the rhdit
end of the boanl. TI,e teacher „ives the following directions, an, 1 sees
that eacli is intellig,.ntly ea,rie,l out Iwfore proceeding to the n,.xt ex
plainmg that the raeasuren.ent to 1» tiik,-n first is the wl,lth of th,.
ohlong-M,ext, the height of the oblong. The exercise n,ay he varie,! l.y
measuring olij,'cts in the room, as w inilow.jiaiu.s, iloor-iianels, etc.
Kememher that Ihese measurements give /,mj,„rli,„i onlv, „ne size
In m,.asuring h,>,-i/.ontally, take gr<.at eare that the pe.uil is y,„',WW
to the Ime of the eyes; in measuring v,.rticallv, that the pencil ,l,„.s not
incline either backward or forward, either to tiie right or lo the l,.ft ; that
it is k<.pt in the sarao plane, as it ...gainst a ^•ertical pane of glass directly
in fr-ont of the eye.*
As it is necessary that the distance of the pencil from the object
shoul.l lie ab.solut,.ly the same while stu.lying any one object or group, all
■Ti,^..o ,i,„ ll.o ,u-,i.|„i.,l nilos for i„,.„s„r,.i„™t. „„,1 ut |,r,.s,.„t .l„y soMii llm ,„e.t i.nf
„ , ,'''.""'■'"■• """" "'"' ":''''■■■"■ l"-'"P><'ive l„lMg „p >„,„„ |„.„blc,us will, riiranl t,j
Iheso nilfs Hint lire not yet woikod o„I. mi rifc.irii lu
54
TKACIIEU'M MANIAL.
mcasurt'iiM'tits NliMiiid Ihj tukt'fi witli the MlHUiMrrs rostiri;; firinly (lyjiinst th**
Imek of tlio clmii-, juhI tlio in-riril at - "iii's Icngtli ; it will 1h» nuccswiry also
to take all iiifa.sui'emt;nts with une .yu closfil.
Position and Practice by Pupils in Holding the Pencil for
Measurement. Sit wdl hack in the chair, with hra.l ni'ct, ami shcmldcrs
i-pstin:; firmly against the liack of tho chair. Orasp tlio p^'ticil in the
niiddlo with tho finpjors, leaving tlio tliiiml>, and as ocujisitin demands, the
forefinger, free to niovo along the ]>oni'il.
Hohl tho p'neil liorizcmtal and pnrnlhi to the line of the eyes, at
arm's length, with the point to the riglit. Drop tho hand to rest.
Hold the jK'ncil vertical (not inclining either backward or foi ward, either
to the right or t!ie leftj, at ai-m's length, with the pniiit downward.
Measuring Horizontally, sit hack in tito chair-, vh,x,' uno. «*/«,
and lioUl tlie piMu-il hnri/.ojit;il, at arm's length, with the point to the
right, and so that the left end apjjears to Ihj just at the left side of tlio
form or figure to 1h! measui-ed ; maxa tiie thumb until it apju-ars to ln'
juHt at the right side (Figuie v).
Measuring Vertically. Hold the pencil vertical, .it arm's length,
with the jmint downward, at sucli a height tliat the up[>er end of the
per.eil apjH'ara to he exactly on a line with tlu <pper siiie of the form or
figui-e to 1)0 measured; itu)vo tho tiiumb up or down the pencil until the
thumb appears to l)e oil a line with tiie lower side of tlie form or
figure (Figure o).
Comparing Two Measurements.- Hememlier always to take the
same position (back in the chair, jhmiciI at arm's length) fur any two
I'lUNO'S NEW onADED (OIHSE IN DIUWINd. 55
*"■/' '' 1; I.Mu„j tlu, ,h,„.,h Ji..::t; „„■„ ,1,„ ^,,,,1 and cin^rT :
pro|K„ti„n lx.t«....n il,„ two .i.casmcMneiUs.
A, a p,...Iin„„a,.y ,0 the exercise, in nepn,«,nt«.ion, tl.is praetioo ™„
« K ^o„ ,„ ,„oav.,.e„.e„t o,. .I,e ,.„.,,. j, i, „„e ,„„„,..,,, ,,1,.,,, , ^^
PO.K..I us ,t ,s ,l,,.,„.e,I ,0 l™,l ,l,c ,,„pil.s ,0 ..0 up,„.„xi,„„t,.|y .ho «p J. !
„? ,„ ;,' ""■"."""""'■'■'"7'' "-• "'o P""-!- A„,l ev..„ «l,e„',„..asui
"HMU ,„. tl,o ,».,„■,! are ,„a,l„, ,t ,„u»t Ik, renuMuU-ml .hat .h.-v a,o of
.-.s.a,.™ only ■„ de.er,„i„i„« general pn,,K,rtion. It i, al„,„., i,;.,K„.iUe
i::!::!;:':::^^™^' "^—'^ '^ "-" ■"™- "■« ^^ ■■■-'
study of Direction of Edges.-In or,ler ,„ „„„iv. ,i,„ .n,„,,i,„. „,
."n.,„,al e,l,,, h, ,, a pencil h„ri.,,„al and ;„„WM ."o .he line f .,;
-vos at anns lcn,,h, «i.h ,he point ,0 tho right. I!ai.„ or lowe e
,«...,„ a. the .,,„ to U o,„e,vcd „,ay ,« higher or lower; but k p
always hon.o,.al and /„„.„/« to .he line of the eyes. Co„,;are the .l'..
H.n of ,1,0 edge observed with ,l,at of .he pene'i,. The olerva.Ln ;
...s „u.ans, ot .he „,,per edge of a ,loor or of a window-blind, open an^
Shu. I„.„,gs ,.nt ad„,irably .he d.ircrence in apparent direction. 'ZLt,
.liusfafon n, the upper right corner of ,he drawing-book page.
r,et pupils lu.ve as nn.ch pra,.,i..e as tin.c will allow in Lasurinc pr,.
Pages. REPRESENTATION.- Angular Objects.
T..ad pupils to observe the way in which parallel edges n-edin^ from
. e o,.erver „,,,.,. ,., lead, according a., they are alx.ve or below tl,: d
of the eye. Ihey wdl readily discover that the side e<ige, of the schoL
r'
56 TEACireu'H M.WIAL.
dcHki In front of tlinm iipiK'iir to nlniit ii|.wiir.l, Iml tliiit tlio upper wlge of
all optm iloor iipiwurs to xluitt liuwiiwjii-iis.
A lioiiz.iMiul fiu-o wlicii ain.wj iir U'Uw tliii i_vii iilwavf iippcaiH foro-
H}ini tolled.
Tlio fartliiT of two uilgoD liorizoiilal fmiii loft to iij,'lit apivais Hliortur
tliaii tlio iicurrr.
All parallel lionzoiital e<li,'i's retelling from tlio eyo ap|Kar to eonve .■,
.\n receilin;; lioii/.onlal ecl;,">< app'ar to iiielino toward thu li'vd of
tlie eve.
Tlio farther of two vertical eik-es appearx slioiU'r llian nio lieaiir.
Oivo n» iiiuch piaetieo as time will allow, IhiiIi for uliM'rvation and for
quick sketches, tellinj,' what has U'en ohseived.
Page 6. RBPRESEN ;:ATION. -Grouping.
I^'t this I'xereiso icc;i,'l to !; | lis' minds what they have learned througli
their recent study of ani,'iil.i • . i.iects and what they had previously learned,
by study of cvliiidric oliji,.s in regard to the foivshorleiiiiig of circles.
Kefcr to jmtia 'M of this manual for the principal points to Iw reviewed by
observation.
Page 7. REPRESENTATION. Review. Optional.
Kiich teacher will liavo in mind certain forms on which jiupils need to
make adilitional observations. The illustration on the dniwiiig-lsxjk pai;e
shows a sim|.!e and elTeclivc way of indicating shade and shadow, which
may ho studied or ignored at the teacher's discretion.
Page 8. DECORATION. Space Relations.
tlu! work
If it i- pn'fiMTcd to use this page for a surface design, keep
very simple, Irving to have jmiiils fi'cl that Vx-auty of spacing and of dark
and li-ht are much to be preferred to elalsiration of pattern. It is often
a good l>lan to draw the same design twice, trying I'dllerent arrange-
ments of dark and light with the same outlines. Use pencil or brush
and ink. A good opportunity is aflbrded for work in color.
I'llANd's NKW (lU.VI.KI) luriiSK IN liUAWIMi.
r.7
Page 9. DECORATION. Space Relations. Dark and Light.
FliWiT aiHl Iruf f.in.H ran .ilwuys l«. |„„lit.ilily .st.i.li,.,! f..r i.|..as to
l»; u»«l i„ .l,.,i«„H „f thi, »„rt. TIk, w,„1< ,|„,„1,1 Ik, i,„hvklu,U, n,.t
dictate<l imr i-o|)ic(|.
Page 10. DECORATION. Examples for Study.
FiKuivs 1 t.. r, «li..ul,l Ih, vny caivfuily stu,li,.,l f„i- il„.i,- l,.,,utit„|
»p.v«o i-rlations ami for iluir g.-a™ „f curvaluio i» the li.„.s us,.,l Th«
<ir,rks wei-o inasfrs ..f li„e. .Mud, of tl.Hr U.iutiful .1 M-ativf ,l,.,ia„
was ,.x..™t.-.l with the htuJi „„ va,..», tilr,, an.l .rthur pieces „f ,H,tt.Tv.
tiyuro .1 IS iepro<luw(l fmiu a ine(li„.val niaiiuscriipt.
Filiures 6 to 10 »h„w U.autiful deeorativ.- ellis-ts prmhieed hy their
line division ,,( spiees and their arrangement of light and darlt.
Page 1 1. DECORATION. Optional Lesson.
This la an excellent opporimiity for work with hrusji and ink.
Original .h'siyns should 1„. earefully thought out, experiments In-'in.'
made on prauticu paper. Satisfactory designs .sliould then !« ivi«,al,-d h,
the book.
Page 12. REPRESENTATION.-Pose Drawing.
It i., sometimes thought well, after studying the illustration in llie
drawnig-lKiok very thoughtfully, for the pupils to copy it ui«n practice
paper, eonsnlcring only the entire mass, and rendering the figure in silhouett,'
with ink. Tins would l,e a gool prepalMlion for the study from life to he
placed upon the drawi,,g-l„K,k page, as they would by necessity Iks led away
from small details in trying to see the truths of action, mass, an,l propo,'--
t.on. It would h,.|p them to discriminate U'tw^m essential, and non-
essentials, so that later, when the .liawing in the lxx>k is made, the pui.ils
would not put in meaningless lines. A well-proportione.I silhouette, full of
action and life, ep.ikcs a very em-ctiiu dmwiug.
58
TEACHEK'8 MANUAL.
Till! "old-time" silliiiuotte was usually (inly the head and shoulders
cut fiDiti hluck [Hiiicr, iiiuuiited upon white. It was in vogue Ijeforo the
ilays of photography, and some of the likenesses c-ut in sueli a way weii>
very renuu-kuhlo.
Tlie leading lines of a figure once ohtaineil, the proinirtions are easily
found, and also their relation to each other.
Bahies are all curves, with little or no neck, wrists, (jr ankles ; later
the relation and i>ropi>ition of the parts change, and curves nio<lify. The
head is much larger, in proportion to the whole figure, in the child than
in the lulult. Suiiietimes illustrators overlook this fact, and children arc
drawn so aa to look like little old men and women A common fault,
also, is that of drawing the hands and feet too .small, with the curves
too round and smooth, and showing no underlying Inmy structure nor
suggestion of muscles.
Encourage the pupils to make mental notes, as well as pencil
sketches, of the leading lines of some characteristic figur-e, and to try later
to produce it from memory. A street or steam car may furnish interesting
motives. A baseball or a football game gives an excellent opportunity to
study action and to observe the leading lines of the figure in different
positions. The pupils will see that such violent action is dependent upon
the angles the limbs make. A small sketch-book or a pad of paper
suitalile for pencil work will prove valuable as a help to memory work,
and as a means to .secure sf'M more thoughtful and careful atu<ly of the
figure than the time in the schi>olroom allows.
Page 13. REPRESENTATION.— Imaginative Drawing.
The opportunity for free, individual work will bring out the pupil's
special interest and ability. It should also make it evident to himself and
to the teacher wlicre he needs to give more thought to his observation of
this or that form, more care to his arra: gcment or composition of the
picture.
If the pupils have ma<le any home sketches from the pose, these may
!*> worked up for this exernise.
PEANa'8 NEW OKADEI) COUUSE IN DUAWI.VG.
59
Page 14. CONSTRUCTION. -View Drawing.
Review pupils' knowl-
e<lgi) of view diawinjjs
ail(J what tliese actually
express. Soo page 45 of
this manual and also the
inside of the cover payes
of the drawing-book.
The views of two
nio<lels combined demand
careful thought, but
should be within the
power of the class.
Eiich pupil should
have two models to
group and study.
Let the first draw-
i"g be made on
pracJce paper, its
size and the ar-
rangement of its
parts lieing
carefully
thought out
FlQ. q.
before beginning to draw. Figure p shows
front, top, and right side views of the cone and
squai-e prism, placed as suggested on
the drawing-book page. Figure q shows
corresponding views of the combination
of a s.|Uiiro pyi-arnid with
a scjuare prism.
If it is preferred lomako
this an exercise in pattern
drawing, have pujiils study
T
60
teacheb's manual.
the views of tlio lilock marked
A on i«igo 15 o£ tin: ilniwiriH-
lKH)k and tiiiiik out the way
to draw tlic i)attt*i'ii.
Let them iiiako experi-
iiK'iital drawiiigH, freehand, on
practice paper, cut them out
and fold them to "prove" tlieir
idea ; th<'ii, wlieu tlie general
tliouglit appears to !« riglit,
make tlie drawing accurately
with a ruler. Figure r bIujws
one way oi solving the problem.
Several wayn are possible.
Page 15. CONSTRUCTION. Working Drawings.
A on tlie drawing-book page is a weilge-shap(«l block. Jl is a bowl
or liasin .such as might lie made of tin. C is a pail with a handle.
If passible, borrow simple working drawings from practical work-
shops, for the pupils to read and explain.
The drinkingcup made up from the paturn page miglit be used as a
subject for a working drawing.
A plain wooden table, a workliox, a footstool, a simple bookcase,
would be gnoil subjecis for further study in this diT-ec'tion. Draw to
.cale, using a ruler and keeping proiwriioniiio dimensions accurate.
Page 16. CONSTRUCTION. Working Dra-wings.
Keep in mind the "conventions" for visible and invisible edges,
centre line, connecting lines, etc. .See the inside of the drawing book
cover. Ask for accuralo work done to scale.
PRANO'S NEW (iUADEU CoriLSE IN l.U.WMNi!
(il
Page 17. CONSTRUCTION.- Optional.
WocKlon j„i„,s or pieeos of buihlers' Imrdw.,-,., r.., |,i, , u.lu
etc., niilke .'ooi sul,i,.cts ft- >it,„lv 4 , k- i '"'i-<N Dolts,
:„, ,. " "'J"-W II. study. A practical cinictcr cul.l furnisl,
interesting niatcria f.,r a cla,s.s lesson.
Book.-
Page 18. REPRESENTATION.-Grouping.
are ahvuvs av,,il...l,lo i„ ,!,„ », ,,, „, „,„, ;,„„,.,,„„„
can 1,0 „,K,le w.tl, then,. Tl„.y should l,„ arranged .t ,„ ,,„.,, .....f.hX "
Wo;v the eye. The „u,,il should study to n,:i ,he ,^1!;.: , tv^
A^.i an arrangement e.w.ly like the i.h.sMati,,,, ,.,. the' .Ira.ing-book
Hold the ,,e„,.il fron, tnne to ,i,„„ .„„„. , the eye and the gnu,,, in
...I., to S..0 mo,.e clearly the ,lirection of ,he converging lines. It w ,uV
eye or that .seen, to call for emphasi,. Any d..tails upon the back or sides
enou h to H " '" "r'-' -=--'-'. ••••.<1 t>- .'.Jp should not Ik, ^
enough to the eye tor i.-ttering or ornara,.nt to U, distinctlv ihle o,
cbflnite. A f... suggestive touches for such details wla^ he , n l
that they .should 1* pl„.e,l will Ik. sulKcient. '" *"'^
Lead the pupils ,o observe carefully the covers of l»K,ks, and to notice
that they project iK.yond the leaves. Unless a book is verv old .,„ I ,
.n .he bi„di,,g, the corners of the upper cover ^C'l^^ri^X
those of the lower co^•er at whatever angle the l.,ok n,av be placed 1^
^n K,ok resting against other books makes an interesting group.' n: L,-.^
''"'' "".' ^' ""^ '■"' P'''""' f» '■-■ 1-Iow the eve and tlL the ,„„i|
do not sit so near as to .see too uiu.l, detail. ' ' '
Page 19. REPRESENTATION,
Sei! K.xereise 111. f..r suir-'esl ions
Grouping. Rendering.
Page 20. REPRESENTATION. Flowers from Nature.
The difference between l«,tanical study of a plant its ol,-, „.,-,l f i
and its decorative treatment is explained i, p^.' .^0 ^^ ':i;^ ',:;1:;;; ^ '
r
62
TEACHER'S MANUAL.
Page 21. REPRESENTATION.
Niiture.
-Optional Lesson from
What is true of the pictorial, .l.'i-oi-ativo ami «-iomific expression of
plant forms is true also of the forms of hirds ami animals. ISook-cov. r»,
jewelry, metal work, wood carving, etc., often furnish interesting examples
of the decorative use of subjects taken from the animal kingdom. Encourage
pupils to hwk for such examples.
Let pupils study some pet l.ird or animal, and make either a pictorial
sketch or a composition for a panel. Plant stu.ly may 1« substituted if
preferred.
Page 22. REPRBSENTATION.-Study of Trees.
It is excellent practice to draw trees in the mass first, in order to get
their general form correctly without unimportant details. See what is said
on page 57 of this manual about drawing figures in silhouette for the same
purpose. Use pencil or brush and ink.
Page 23. REPRESENTATION.
Landscape
Space Relations in
The purpose is to proiluce a l)cautiful arrangement of spaces appropriat(>
to the particular outlines chosen. If <lesire<l, the compositions may be
finished in light and dark, making ilat tones, and using not mure than
three— whit«, tiay and black, if ink is used; wnite, dark gray and light
gray if the pencil is used. X good opportunity is given for color.
The exercise suggested as an alternative is an excellent device foi-
studying pictorial composition by masters.
Page 24. PICTURE STUDY.
See the general suggestions regarding Picture Study on jmge 2H of this
manual. Pupils should te led to see that the quality of a picture dei>en<ls
on two elements,— the "-^.ry" and sentiment on the one hand, and the
comp..siii„„ „„ til,. „tl„-i- l,a,„l. Tl... ]„■,, „!,.(„,,. , , i
'r'-"- ^";,"-- ■-...M,:,::;;:;:;!,;:;;;::::::;:;::
;:nij;:3:i;;r:;:?::;;,r'-^'''^' """""■"■'" ''■"--
(/a ll„. (_■„,,„,,■„ J. '"""nr,,., cilk-.l ' Dans liiCiiiiipusne ■
n, J'':;'o;r::!ar';t;: ^:„!"krT""^ -'■":" '" "'" '■'^'"- ^-'^ --s. ■•-■'^
The... ..^ .. u,o.:.::t ;":::■:,■ ::.;:::nr;!:r';:;'::!r 7:
tl.e.,„agiu,iti„u groat ,,,ac.s of „,,..n sky ..verhcad Th„ W , f
the „.ar.st sheep sh .,.., „-„„„y '.„,e,.™ „f ;„ t f ,,o^ a^r.lr l-f '^^
IS g.veu t., the l,r„w-i„g „„i,„aU I,v ,„e,n, of H 7 .'";■;"""'' ''f'-''''" "ir«'t
whieh .ro „W, alike A„„ r.r.ani^rer, "; .J^^ ' ,;:7; ™:„::^;'--- °-■■■'-
■ h-rk outline, Tl.i. ...'...i.it,, ....Ve „f i" ; V ' , ''■""^' "'""" ''^
co..,p.^.,y ,e. , .. ... i. .., , -- :;■;-:::: --r;,::',,:^-'
Do not tell nil tl,n t„ tlie i.i,|.ils, l„,t l,.t tl„.„i ,iisr,,v,.,. If r „ ,1 ,
pussihl,.. ■ 1 ■ ■■■nil .ii-i,,i,.| It for thomsclves if
Hef,.,- ,„ what is saiil ,„i |„.|,.. -11) „f ,l,i, „,,,„„| ahiiiit,!,,. , ,p„si,i„„
., .h,we,..,lniu„„s,a,i,l s„„ly „,„ „a,i,He.. ,ive„ „„ , Ii,., i,|,,,„o'k ,,„.,.
Hi. Jai,a„.so me nvogiii..,! ma.tei. „f s,,ae,.-eoi,ip„si,io„. ami att .tuilm:
ea«o,-lys,i,Iy ]ie„.«-u,-k m onlf,. t„ appiveiate lietter the ilillMence i«twe..„
u,.ly, awkwani spaeuig ami that wliiell yivcs <leli^,|it to tho eve. I„ .UvW
...a «uel, ...aiiiple. i, is ,if,i.„ a g 1 plan ,0 lu,l.l them si, iar away fn.m
^o eyi. , at tiie suh,,.,, is ,,„t el -ly ii|„„ti,i,„, ;„ ;,.,,,_ , ^ ^^„.„,^
.t he lilot. ot ilaik ami 1,,-ht as „„e iiii,|it l„ok at the l,l„telie,s of e,.l„|.
in a niapli! leaf.
64
TEACHEK'S MANUAL.
BOOK V.
The Pattern Pa>ge. — The printed pattcni i»£ tlui sijuare pyramid
will be found useful for reference in cuimuetiou witli the work uf the
drawing-book, pages 15-17.
Page 1. REPRESENTATION. -Nature Study.
Observe tlie parrot in the illusti-iition on tlie (h-awin;; lH>ok paj,'(s and
see how his bill differs from a canary's or a hen's.
The sketch of the parrot is meant to j^ivo pupils points about simplr
and eifective ways of expressing botli form and the texture of pluniiige.
The legs of this parrot were not slender and wiry like a canary's, but
shaggy with down like the legs of some bree<ls of domestic poultry. It is
impracticable to try to show fine subdivisions of featliers in such a pencil
sketch. What the artist did here was to indicate whi're the most striking
feathers grew and how they slanted or curved, suggesting their feathery
look by the use of a very "open" line. This lino, by letting the white
paper show through here and tiiere, suggests to the imagination the way
in which the light shows through the fine interstices of the feathers and
so helps make the effect life like.
Notice how a suggestion of color (dark body, lighter wings) is put into
the pencil sketches of insects.
Page 2. REPRESENTATION.— CyHndric and Conic Objects.
Principles of Perspective.
The subject of perspective should now l>e carefully reviewed, that
pupils may have a definite grasp of its leading principles.
Nearly all the principles in this subject can be gained from the
study of the appearance of type forms, the simplest geometric solids. These
type forms may be broadly classified as: —
1. Cylindric forms. 2. Angular forms.
PKANG'S NEW OKADED COUBSE ly DRAWING. 65
Fig. ».
L..rp
Fici. t'.
TfuU ike t'iirth^r f,f t,,-^ j ; ■
appears
(;ti TEACIIEU*M MANTAL.
fi. T/i'it (ifl /^n-'iff^l linri:nnt<il '■/■/rx, ,'v,<li,><i f'rnin the ,,jf, fti>i»eHr to
;. Tlmt all nn.li„.f h-;l .••nlnl r-hj,A „,,i>mi' /-> lltrli,,, f.nr>,nf tht (<>',{ of
tilt tl/i'i 'lii'f inil-<t If an -Iftwii.
S. T/i'it (ill /Hu-'ilid hori-.'mt'd r'f'/tit rfvn/in'f J'roiti t/if. ftjr. ti/>jH-ur to von-
vetyv. to a /"nut on the lertl of the tt/e, and niHMt f>ti itrmcit no th'if,
it' /.nxhirt-if^ th'f/ ir/'fl t/ifft in a fniitt on tin irnl of the ttft'
(L ..f K).
!'. Thai piiinlhl horr.oiit'il fhjtfH rrve'lliKj to tha lift n/i/itor to roitnnje t>>
it i».iiit on the /ml of the- tf/e at the hfi tf tht ohjnt ; thosf
irvcdlmj to the ri'/ht a/rptor to vniuyje to the ri'/ht of the, o/,Jrrt.
These j'"i„tM 'in'. atUed refj cretin/ 1/ V.mishln'j Point 1 ( I'. J'. J J
itnil Vaniifhinfj Point -i ( V. P. ■')'
Fig. t^
hK T-int for nrtunjiuhtr ohjectx Htandintj with aide fares inrueil f/unl/i/
iiH'io/, the roniKhin'j fHjints <ire e'/iiidisfont front the ol,j,rt.
11. That thefn-thfr nrtiml ^--fifcH opjHor sh-n-ftr thou thr /inirer, and
shonl<f I't so drawn.
12. That for rictftn</n/ar ohja-tit sfanditcj H'lth aide fires tnrned nnef/ual/i/
amtt/^ r. P. I and I'. /'. .' are nnt'jnaf/i/ distant fro/n the o/ijerf,
acvrdinj/ to thr a/nth at irhirh the of>Jevt ftandu.
Y.P.I
V.P2;
Fiu. tK
PRANIi's XI.W .lliAI.Kl) (Ol |,s|; |x „„.v\v|^,,. ,;-
Tim illiistmti.ms .<{ tli.. Mr.i„.;,,Mr .( il t i •
'•' •'"' ^ "■■' r-m i,oi„. ,1,1',,.,, „f u, .;'.".':■""•" T ^';
1,,,.^ I .< '|',„ -,1 . • •111. < W. (11^., I') <..\(.,||l,|,(y. |„. ,„. .
m.:ie fro,,,'',,,, ,, : ,„,''" ""';:'": ^ ■" ' •■ <""-i''- "■■'•
. ,, "*• '" ""' '^'"-t ti'I'lM lit th,. „„„,.|s sl„»v tl„. „„„H,.„
iil-jixls ,„ ,l,fK,v,.t i,uM„„„., tV,„„ ,l„.i,. „,,„ obse,™tio„.
Pa«e3. REPRESENTATION. Grouping. Light and Shade.
r.,„k „t a„y object ,,la...,l i„ ,|,„ ,i,|„ . „,„
i; .:i,: :" \v"T ""';; ""vt --"^ " •"' "'"■'• ■ '''^■•''-
. <sa sl„„(„«. ^\„ l„.v.., ,!.,.„, hght i.„ ,l„. |„„i ,„„,>,-,l ,|„, li„|„ shadP
z:vTrV' ' ""^ "^'"' "■ ■ shadow -ast 1,, ,];,;:,'jf '
^.£ : ;;L;z;':;r;r;r::vt;:r-*:.;;:
on, 111:;;,:,! ''''■''^'''^'''■"'■''■'■--^"i-^-,s,,,,.n.,,.,,.f.,M,.
:nf..::r.;:i*:L:;::;;'t:;;;:\:::;;:'i;t''rv"'''-^''''-.';^''^'" ^
eg TEACHEll'H IIANTAL.
at the side. U tlie lower part c,f tlic«' wiiulowH am he Bcrponpil, it will
be better. In the case of ci'oss lights, only the utroiigest shailes and
shadows should lie ntuilied.
See Figure «, where siinplB effects of shade and east Hhadows are
expressed by parallel pencil lines, vertical, horizuntal, obli.iuc, curved, as
the case may lie. The curvature or the direction of a shaded or shadowed
surface may be indicated by the direction of tlie shade and sliadow lines,
straight lines lieiilg used for plane faces and cut vcd lines tor rounding faces.
When a shadow falls upon a horizontal surface it is expressed by horizontal
lines and that if a part of the same sliadow falls upon a vertical face or
surface, the lines expressing tlie shadow are vertical. These suggestions as
to direction of line must not, however, bo considcr.Hl as abs.ilute or pre-
scriptive.
The strengthening of the outline ...way from the liL'ht, that is practised
in outline drawing, is omitted in light and shade drawing.
PKANO'S NEW GRADED Cni'nME IJJ DRAWTNO. 69
Whnn .1 pioluro is »„rl«.,l „p ti.WHi-.l full vulurs, thoro will appear
Jnmjr..,,,.,/, mi././/, rf,,,,,, , l,.,rk,,,:,„„fl. Tl.rMO rnuy Ik, rani ut .■^..rl in
11 wmpio Kioiip tlm piiricipul ol,j,.cl U'wj, in th,s f„r..i{n™ncl, tlio secondary
olijiTts Isii,^' in nuri.lii; cli,tiinir, tlio Iwikgroiiml lHMn« mldiil, ,w in tha
illustrttti.m on llio .liawiri-lH,„k pa^.'. In rendmnK, '''" foreground should
have tlie stron^-cr, i-li-aror louche, the ,„i,|,r„. distanio the more Hulxlued
t.iucln.s, mid the hnikurouiid should 1h5 entirely subordinate, fainter, and
li'ss di'lincil than any otluT part of the i)icture.
Page 4 REPRESENTATION. -Angular Objects. Principles
of Perspective.
S(s> till' notes on the iwrsjK'ctivu of angular ohjeeis, jiage fie of this
Principles
Page 5. REPRESENTATION. Angular Objects.
of Perspective.
In thawing a pyramidal ol)je<'t al)ove the level of the eve, it is some-
times found cliin.ult to make it Icsik pi-op'tly vertical. The problem is
simplified hy knowing that the ape.x of such a pyramid is always exactly
above the centre of tli.. (s.iuare) hise. The centre of the appearance of a
square (no matter how much foieshortened that is) can always 1m found at
the iK)int whc-re its diagonals cross. The illustration in the upper left
corner of the drawiug-lnsik p.i-c shows an outline sketch of (he pyramidal
roof of a tower, with light skeleton lines drawn to find the ccnti'e of the
pyramids l)a>c and the correct I.TOtion of its apex on the vertical risin.-
from that centre "
Page 6. REPRESENTATION. -Grouping. Rendering.
]{ei-all what lia,s been leariK'd in recent lessons regarding perspective
principles and rendering in light and shade.
The illustration in the drawmg-buok expresses color, in a simple but
efi'cctivo w'ay.
70
IK.U lIKli's MANTAI..
Page 7. REPRESENTATION. Review. Optional.
Kiia.uni;: i .,,f ■- liu.il sk.-l.liin- Iiy V"!'''" "'"' '"'' ■"'"•'■'•>'li-'l '»
;atiTOplill« il". Th.^ |„.|,|,..,-liv,. JMilL-iph's aliv,ul> l,;,inr,l shoulil l«! li<inu.
ill iiiiiiil. riii'llx -li.iiiM ■•rilii-izi' ilnir MVMi (lni«inj,'s iw fur iii |»i.sHililf,
mKviivs iiiiikiii',' f..i- llin,is,.lv> «l,;it,Mr .-..mvliniis air lu-i'.kd.
Page 8. DECORATION. Space Relations.
U aiKls iiilriv,! ali.l iiiaki's |..i-..il,li. iiiniv iiiti'llii;i-lil work, it' ii .li'sij;ii
is ,iiuliMM...«l t.i liiiv,. ,1 il,-liiiit,' a|.i.li.Mliim; llius, tlir .IrMuii f..r u
|.allrlli'(l il.'nr liii^lit liavr rcfi-irlicc tci tlid clltniiiii' i.f a s,-li,K,lli..iisr,
rliuivli, ..r lil.laiv, ill.' .l....r ..f a iH-ikcasc, a falaiu't f..r .■«//..», a .■liina
.■l.,-i'l, i-t.-., as llf ras.. may I..'. Tla^sii .lill^iviii.'s .if |.uili..s.' w.nil.l
lialurally mil f"r lii'siani ililVi-l-in^- iii.nv <il- l.-.-i in .'halai-tcr, tli..u,;.'li catli
M-liiMiif of spa.c ilivisi.Mi iiiay In' fi 1 in il< .."" "ay.
Page 9. DECORATION. Space Relations. Dark and Light.
I'iist draw Mv.ral s.piaivs ..ii pia.l i.-.' liapcM-, anil in tlirsi' niiik.'
n]„.n Ills hi siwuv (ii^isi,lll. It is a ,^.....1 l.lall t.i iluplii-alo tlic in..st
satista.-li.iv s.|iiaivs, ali'l try t«.. ililV.T.nt s.li.iiii's ..f ilaik anil lifilit t.i
siv wliicli'is ii„,iv iil.asini; l.i tlii. .'v.'. It is ..iily tin ..ii-rli sii.-li tliunnlitful
cxpcTinii-nl all.l <-..iiil..iri>.iii lliat papils' (.vlin^ f..r li.'auly will lliakf the
iii-iiwtli (li'sir.'.l.
Page 10. DECORATION.^ Examples for Study.
Kif,'Uii' I is an i\.i!l.|it .•xalii|.l.' "f liyxanl iiii' .iilialilcnt as prai-lisi.,!
in clnnrli ili'.-..rali..n in llic "ixiii iniiiny. It is fi..iii tlii^ callicdral i.t'
Santa S.i|iliia in t'cnislalit in.il.li'. Tin- piiiTal iiliM uf the r.'lii'ale.l linniv
^v,is 1 well fnan llie an.-iilU Creek aiitheinii.li (I'i^iir.' I). Xeliee
espiviully tli.-.'X.i.iisite ,.Mval,ii.-..f lli.' lines in Kigniv I. ll is .niisiilei-ed
„li,. „f the in.isl l,.-alllifnlly il.-i,i:ne.l li^'uivs ,'vvv liiaile.
i'i.'uns ■-', .I, '>, ti aid iils.i leliliiiiilieil fimil the alleielil Creek.
I'lUNd's \FW .mA|,|.;|, cdlljsr. IV |>IM«IM.
71
Kij-lln
, "•'""■ ' '^ '■' '" "!•' '■"'!■ I"..vl, ,.,„i,.l„.,l, , I, ,.|„„,,„,
"l«nvs «,,v, „i,l, ,„„,„„,,„ ,,,n,.,| i„ .„„„. HMu.h, ,
; ''■'"''■ '"■"'-. 'l-iJi' ■•• -^'i' til.., ,u..i „.v,ii,.. s„„i> „:: ■,,
Page 11. DECORATION. Optional Lesson.
"'. ■■', '""■■''.'■ '^ ■■'"-" '■■•'• iv,„„,l,„.,i i, ,|„,„, ,
"' niJi'Ii* ,11 least
1 ii,.,, ,,,. , ,. : 1 I ■ , iiiaMi- ,11 peas
," ''^ ' ■ "'"' ""■'•"■'' '"■■•'- 111" p..«.'. TIm l«„-.|,r ,l,.si..n, ..iv,.,
" '"■ -.-iiy *,.„>,. iM,„., „,,„., w.Mi.wui.; ,?:
It II Milt;,,.,. , ,.s .,,1 is t,, |«. nil, I,. , ,
>■-..">..).• f,' iin;.,'.„; J,!,. ;:,:,. '■" ^■""■'"' "^
Page 12. REPRESENTATION.- Pose I)..wint'
If pu,,ils „,v s,„li,.i,.n,l, „,.|1 ,„.,„„ I ,„ „, ,,,,,^,
i.'ttiu.„,,,„h..,.„.f,.a,u,v. i„ „ i„,„„i,»u,,„s,iv,. „.„v, J ,,;,., i,„::
I'W, «.llM,„t t,-yi„K t„ ,,„t i„ .s„„.|l o.UuU. '
U':i.l tlici,, t.i shld.v pi„p„rti„„s will, „,„„t ,...,,, , ,
.n:;;:s; ^^■■"•"-^>' '■'...,.::/ , „
Page 13. REPRESENTATION Imaginative Drawing.
'"'" '"'-" "'" ''' >^l"-e>.M.M, „f ,,u|,iK- i,„|i^i,l„,|in. i„ this ,.„.,,.i„.
Page 14. CONSTRUCTION. Floor Plans.
Tl,.. ilhlsh.-.li.MIs ,„| ||„. ,l,.,,wi„-l»„,Ii
» -l.hui.
A.sk i.ii|.il., f,,|.
I'.'i^'i' in(.]wl,. .., ,.„i,i|„.,.-, ,,.„! ,,,„!
-'" ™ ""■ "-'" ™- .«'.« -n ,;,„.L ^ ;:;:!,'::,:;:,i„:;,:;::.;^
72
teacher's IIANUAL.
Encoura".' homo wo,k inllio saino <li.v.ti<m, making lloor-pklis of hou«-
.•ooms, MaWc", .slmps, <•(.■. All su.l, plans slu.uM te di»ti...-tly n,a.-k,-,l t"
slmw tl.e so, : on wl,ic-h thcv are dl-awn, tliat tl.ey may give accurate
information alwut dimensions as well as about form-, and proportions.
Page 15. CONSTRUCTION. -Geometric Problems.
Faeility in maki.,- freel.an.l sketches for working d.-awings is essential
for every draughtsman who nu.kes drawings for consti'uetivo purposes. Tn
.s a f.-e,-hand <lrawing is all that is n.^eded. Tn other w<.r.ls,
pi(i drawings, fi'ecOiand, ni shops or
)t 1)0 made available, the careful
at command, and in a
many ca;
it is freiiuelitly necessary to make ra;
other phu-es where instruments cannot
inslruuu-ntal drawing K-ing maile when more time is
place where inslrun.enls can profitably 1-e us«l. Make these- ponits clear
to puiiils befor.^ be-inning the us.' of instiumelits.
The use of the instruments c.mpasses and ™le-sh,mld be carefMlly
tou.dit an,l .hilled up.m at the start. P.M.cils us,.,l in instrumental wa,l<
should be bar,l.>r than tlu.so US...1 in f.whand work. Ix-arnnig t.) keep the
hanl l>encil well »hari«M,.-d, to hol.l it erect wh.-n nu.king is.n.ts or rubng
lines an.l to use it either lighllv .a- m..re firmly, is an miportant i.art ..t •
first, st.-ps in this work. l-.-a.ni..g to handle the ml,- ,l..ftly an.l n.asel..ss.,,,
to lift it as little as ,»,ssible, to take as many measures as convet.ient
with.mt moving it, t.. .neasure by it will, precisi,..., an.l t.. av....l using the
"end inch,"i^' imiH.rtant in onler to secure rapi.l, thoughtful, an.l accura.e
work. .
ri.'f..re atlempting any work with c.mpasses. tii.' .-lass sh...il.l be mad.'
M,inewl„it familiar with their appi'a.'an.'e an.l use in the lian.l ..f a tea.li.'r.
tV.miia.ss.'s are us.'.l t.> .l.'scrib.' cir.-li'S an.l arcs, an.l t., s.'t olT distan.-'s.
Tbey have a h.'a.l an.l tw., legs. In ilescribing a oir.'l.' ...■ an nir. the
c.nnpas.se« ar,' b.'ld bv th.' h,'a.l, tl,., p..i..t ..f on,' l.'g is fi.v.'d, lb" .-on.passes
ar.. turn...l, an.l the i».i..l ..f tl... olher l.-g .l,'scril>es a cir.-l.' a'smt the
fix.'.l point It is, ..f .'..urs,', ess,'nli,d that the .listan,-.' In'tw.'.',, the two
,„,ints shall n'main the .sa.ne whil.' lb.' ciicl.' is K'ing ,I..s."ib.-.l. A wty to
lu.hl the compasses without changing the angle b.'tween the l.'gs must be
found.
PKANG'S NEW GRADED CdrRSE IN DRAWINIl. 73
Practice pupils i„ „i„,ply taki„jr l,ol,l „f the cnn,pas»e.s pr,™,ly Bo
.we tl,at ..very pupil I,h. ,l,e ri,-l,t ..-asp. Tin,„ spo„t, i„ this practice whei.
he c„u.pa.se» a,.e first put into the l.a,„ls „f pupils, will 1« ti„.e ..v«l
in the end.
In .lescribing tl,e circle, there shoul.l I« a slight (and hut a slight)
pressure on the fixcl p„i„t, t„ keep it in place. The ccnpass,.., shoul.' Ix!
w placed that the pencil point will Ik, at the left of and Ih.Iow the centre-
that IS, so that a line connecting the points would 1« at about an an-le
and fingers on the Wl of the thun.b, the first finger gradually takin-- the
place of the second, until finally the circle is fully descrilx-d. This move-
n.ent should 1« carefully studi,.d and practised until a circle can 1« ,lrawn
with one sweep of the instrument.
Thefig„,.e ABFDE is a .,V.i,.-a plane figure hounded by a curved line
tallcl a ,;n;mf.;-nur, every point of which is equally .listant from a point within,
called the eiiitiy. Any line, as
CD, passing fi-om the centre to
the circumference, is called a
iKiliuH --the plural form is nuiii.
A line, as EF, passing through
the centre of the circle and t(.r-
minating in the circumfei-ence,
is called a ilinmevr. Half a
circle, as riTII, is called a xnui-
nrrlr. Any part of a chvun-fc-ence. as JKT, is called an arc; a line
connectn.g the exfendties of the arc, as .TL, is calh-d a cl,..„i
e^aM, ^M,c„ the meal po.nt of the con.passe.s is lUcd on the p^.s.,-
or the purpose of describing a .-icde or an arc, the point where it i.s fivcd
s s.ud to be taken as a centre. The distance U.tw«.n the n.ctal point and
pencl ,K,n,t ,s then ..ailed a ra.lius, -lake any ra,iius," n„'ans op..,
he ..,„n,«..sses n.ore or less. "Take a ...dius of 1"" (one inch,, n.eans o.^.n
the compasses so that the .listan.e lK.t«..en the jK-ints is I". This will .live
practice „■ taking measures fro,,, the rule with the ,.„n,pa.s.ses, which sh.^uhl
be held perpendicular ,0 the rule. "Take any ,K,int as a centre," ,n,.ans
r
74
TEACHF.K's MANIAI..
li.v tl.c itlPtiil point on tho \«<i*-r or l««rcl. "Taki! C as a (•.•ntrc." ni««n8
fix tlic met.il point iit tho point iniuki-il C. Hiiving cxplain.'cl tl..'so plimsps,
U-t pupils practisi^ dcscriljing sinyle ciiclcs and coiu'entric cinli-s on in-actice
paper. Limit tlicni Boincwliat a.s to contre ami radius.
Clcauetry is tlic Kasis of accurate iiistruiui'rital drawing'. The drawing-
Ixiard and T-»iiuaic, umhI by nicdianical ilrauglitsn.cn, give a short cut to
acuracv, and in many scli,».ls they are used hy the puj.ils. An under-
standing !■« geonu'lri.^ principles is nevertlieless necessary, .md the stuily of
geonirlric pi-olilcnis is of great disciplinary value.
Tlie main ofTort should 1)C to fix the g.'oiuetlie laws and the relation
Ix'twein prohlenis. For exani])le, tlie axiom "two j-.ints of a line drternnne
its ilirection," is at the root of all the relation .* p.arallels. Chiidri'ii .1..
not always see parallels. In.l.wd, they seldom notice pari.lli'ls that are
ef the nioii; ordinary jsMitious until Iraiiu'il t" ol.ser>e them. In teaching
Is'c
it un<
'l-al in its
I ,„,sMille
Problem 1, care sldwld Is^ taken that this law slii
ai.plication, so tli.n, the pupils will 1«' abli; t.. u
conoitions.
Anothei law governs all bisection, whetlier of line arc, or angl-, and
this 1.-, - should becoMio the |.o-s,.ssion of the |.npils.
A- for relations, the c'(uilaleral triangle is found in thi> hc\agon, .md
is easily n.a.lo m the ■,,,~ccl.-,l scnucircle, while Is.th the e.|uilateral triangle
anil the trisecte<l . niicircle go into tho making of the regular hexiigc
In teaching geometrio prol.lcnis,
.ise.l, the work should not stop will
|,d to rea''ZC the Iri.tlis worked "Ul in,-i. r du'at
tlllllis.
The following i;conietrii- |.r,)hlcnis .:..■ .in -xcll
v.ork in Construciioii:
ivhili' dictation st ssarily !«■
dii-talion, but the f^pils shouh^ in'
and to ii'late '!asr
la^i- for instrinnental
Problem
Problem
.1 (.. ,1 :iii
ii'tir (I /'
■„ I
/(' I'ri'lirnili'iihn- l<i it iit il'
Problem
Problem
Problem
Problem
i;,l.i,,,i .,,, „,r.
/., rnH.llfWt fin ojlllhttitol tf
ui'll'' e« It 'lir,n I'll^'
6.— /'" (M"Ct a griuiiiirle
PIUNG'S NEW (JKAnEl) COfliSE IN' DltAWINd. 7;,
Problem y.-y,, ,/,„„. „ ,„,,„;„, /„,,„„„„
Problem i.-T,, ,1, ■„,■ „ ,■,.„„/,„. /,,,,„;,„„ „„ „ ,„,,.„ , ,
Problem g,_ yv, ,/,,,„. „ ,,.yi„.„,u,.„!,„ „t ,/,, , ,„,, „f „ „,,.„, , .,^ ,
Problem lo -To ,:..„.,n,.t ,n,,,l,; „f m,- „n,U.r at „ ]...i,„ „,„,,, . ,„•,,,„
Problem ir.-y;, ,,,,,.,,.„,, „„,,,„ „n„r ,„., :>o ,..;,„,„ ^„„„„
Method of Development. Ex,iri»,.s i„ ti„. ,i..v,.i„„„„.„t .•
by wMd. ,,upii. ,.„ >,. ,,.,1 ,„ ti,i„k „„t ,h,.„. s;,,u;:::,I ' "■"""'^•
Problem i. Bo,-i„ ,l„. w„rk l,y ,.ivi„,, ,|„. f„l|„„,„,, ,|i,.,,>,i„„ „,„,,,.„
The q„ost.o„s a,Ki ,„,s«o,.s a.-e u.n-Ay su,,-o.ti>.. ; ,.k,. ,„„,■ „.„ „„.„„„,
of lea.ling tlic pupils to di»c-nv..r the i,ruep,„.
'''■'■'""■•";• I-D™"- ^' hnri«,„,al line o i„du.. |„„. „,.,|<i„,, „„. ,.,„!,
A ,u„l li. W.th a ra,i,„s of 1 i,,,,. a,„i A as a cvm™ .l...,.?..,. ,, , .
n.t..,-s....t,„« ...e h„e at the right „f A, an.l n.a.-k „,„, ,,.,,„ ,, 'V
C us a ce„t,e and ra-hus CA, .ies.rihe a .semiei,-.. , „„. ,nc Ali \\-,
h- n,ht en-1 ,.f the ,.,.-0 just .Lawn, as a cent... an.i .,„. san.e ,., i
t^mfe a see,,n,l se„,u.,„ e. In ,|,e san.e way descrilK. a thi, ,
..u, h senncnvie successnely on the line AD. liule a lin,- tangential to o
touch,,,,, the l,,Khest points in the f„u,- s i,.i,.ele,. X, „„,„,;, „,„ \ .','
The lette,-s and h^m-es ,vle,' to the illu.t,-ati.,ns U.|o„,
Ask pupiLs now to lay ,l,ei,. ins,,.,,,,,™,, |„o.k on .hei,- ,|,.sk., a,„l .„„lv
the ,l,-,,wi„jr winch tl,ey have just ,i,.„i,.. Ask - ' ">
How does til.- line I 1 compai-o in .lire,., „,,!, il„. |i,
is piinill.! to iln. Ii,i„ ,.\B.
VVIifi, i, on., line p,i,ullel ,o ioiotln.f :■ \VI„ ,, ,|„. ii,„.,
.■i]»irt, tljiiinuhoiit tlii'ir .'iitii.' Iin.-lli
JW. rln„ I -'an<l.\Hmo,hosa,ne.liMan,:„,,,,,,l , 1„
n,.- -ione laciins wiw tuiiei, f,„- „1| ,i,„ .,^.,,,1,,
'"■"•I,,-. ,l„. l,ij,ln.,t |«„nt in c.,i..|, «,.,ni,.i,vle
V' ■ AB. „nr -enncn-clfs w,tli the ™n,e .aili,,,, ,o„| ,|,„| ,n.,„i„„ .,
Mi-' Tl„. li,
t'IroM, ,l„.i,-,.nlin. I,.„t0!,,
I'-, an.l ,l„. I,nu 1 ■_> jnv,
' ;air^*«--*).-" li-'v-jjii*-..
in
'6 TEACHEU's MANUAL.
Now think ; cunnot a lino Im> drawn [Kii-aUt'l to DK witli Iohs work? — Yes; with
only one sfuiicircle ut uiich end.
(!omc to tlie iKMird and do it. Nnw, (-Jin tliis Ixj doni; witli any less work? — Yes;
liy druwinj; just tlie top of eaeh nf llie two scniieircl<"<.
Right. What is a part of a eimunifenMico culled ?— An ui* .
Now I think you ciin tell me jilimit drawinj^ a lino puralltl to I lE. How many
arcs will l>e necessiiry '.' -Two,
Where niusfc their centres Ije?— On the lino 1>E, near tlie finis.
Where must the arcs he drawn? — Ahove the centres.
How lonj^ nuiwt tho arcs Ik3 ?— I^finj; enouirh to show plainly the hi^'hest points.
Whjii radius? A radius eijual to the required distanee Itetween the lines.
Here is a line, l>K, on the boanl, and here is a shorter line, F<i. Come to the
lioard, and ch-aw a lino |>arullcl to DE, at a distanee K<i.
2. T)niw a litio j.aralh'1 to DE, ut a distance KG. Make tlie ares fine
irnl li^ht. Tho h'tters refer to the illustration i)elow.
When the work is completed, the pupils shnuld !)♦' led to state the
jTohleiii, and the rnanner of working it, a.s follows,
PitOHi.KM 1. — /'" ihtitr II liiii- jKirallel to >i '/h-.-n liiu:
r^et 1)E \ie. the given line. Take any two jx>ints in the line 1>R, near
Uk; t'tnis, as centres, and, with a nulius equal to the recjuired (iistanee
Ix'tween the lines, deserilie two an-s alwve the centres. Draw a line ;t t
tangential to, or touching, the arcs, .'i 4 will Imj the rt'ijairttl line.
Problem 2 — O" not state lo the pupils tlie ohjt^ct of this exercise,
but give the following dictation.
PEAX.^'S NEW ,.KADE,. CHK.sn IX WUW.N,, 77
/'/.■(„/,„„._. Will, A as .-PTitre,
a'l'l a i«,liu, g,.,,itc.- llmii ),„]£ „f
AB, ,l,.«TiiK3 a eiivl,.. With U ,.,
•■'■ntiv, and ll,e silnio nuliiis, ,I,,,e.,.il,.
■■' "'•'■'" i»f'-^«'tinj. ,1,.. first. Mark
tlr- iH„ni^ ■< i..>.Ts,.,.tion 1 „,„! •-
I'"''-' li'"', 3, 4, ,l„.„ut;l, 1 ami 2.
\-k I'llfilx I„nv ,„ I,„. ,|„.|,. j„
«tnni„.„ts l,..„-k ,m ,|„. ,), ,|.^ ,^,„|
-itmly ii,.'ii' tliaMiiij,'. .\^li
H,)w (loa< the li.io :l 4 ,l,> i,lo tl,o In,,.
AB!- I„ ,!,„ ,„.,„,,,, .J.,,,. |,,,^.
3 4 Ki-i.ts lliu lino .\U.
' " » IML ,1110 .1 4 tOMl|«Ui; ill
llllV<li,„| „i|l, ilip iiii,, ^yp.
Til,. Ii„„ i, |,.r,,,„|i,,,,,,, ,„ y„
"■"';■« ■■< ^ i« |.o.|..iKii„,il,n- ,0
H-<^i<aline, AH, „„ ,|i,.. 1,,,,,,, f , '■■■"'■■•:"' ^B.
Bi-ilniHiii^, l,„ „„,.| ■ ■ i">''t It. How did you do it !-
Who r,„ ,,0 it wi,h less „„^r <■ „ ',"";"■"' "'" '"'■""' "' "■l«-..-lio„.
i"-te,.d of „,,„,e eii-dos, r .I:;:".,:'""," "■ "r '""" •'■"■ ■'"- ■'^-
l«low til... line. "■ '- "'"'Vn to intersect iiliove and
Tl.is^ line. ,VB, on the 1,„a„, i, ,.i„,„,„, „
■I"'- will |)e iRvt-isinv ■^- Tuv. tt I ' """ •""'■'" If. Hciiv iiiatix
„., :"■'-- ■ e : UJZ W- """ ^^ "'■■^- '--' ^ ■ ""..Kh .i
HImt .eiirres must 1,. i„l,.„., xi , ,
^r'f- —-';:'" f::.!:ii;:",:! ":,':;;■,
•'-"'::v;:r::i:n:^:;;;::^*'''^^ ».„,
--:;:;;::::•-:;;;::''- ^ ,...,....._.
I*rr
78
TRACIIF.l; H MANl'AIi.
a lilli', 7 H, tlirmi«li iioiiils ."i iiiiil •>. Tlio line 7 S l>isi.,-ts tlic line CFl, anil
is hIso jicriK'nclic-uliii' to llii; line ('!> iit ils wnli-r.
Problem 3. — In n siTnilm- niunniT, li'iul Id i\. smli'nicnl "1 I'mlili'm .'I.
Pkohlem 3. -'I'o I'imt nil iiir.
I-ct EK 1)0 the given hit. With 11 i-.ulins ;;reiiter tliiin liiilf tiie ili^tmice
fr.ini E to V, nnil tlie jHiintM E unil V iis eentivs, disiTilio m-vn inler~ivlin«
eiu-h oilier ii1h)VO and Ir-Iow tlie mic KK. A line llircu-li tlie^e |M.inls of
intersection Insects the luw
Problem 4 'I'lie following ilictation illustnttis thc^ iippli.-iitioii of ])re-
eeiling iirohleins in the (levi-lo|irTieiit of P.ohlern t. Tlie ivsuhiTi!; tigure
should Ik- like the illustration Ih'Iow.
I iirl,itiun.~ Draw a horizontal line •JJ" in length and murk the ends
(ill. Uisect Gil hy Prohlem 2, and mark the centre I. Witli I .is a
centre, and the radius (IT, desci-ilH' a i-ircle.
Draw the vertical diameter of tin! circle liy continuing the line of liisection
each wav to meet the circumferi e. .Mark this vertical diameter JK.
Draw an olili.|uo diameter which shall Insect two diametrii'aliy .ipposite
Huarter circles or ([Uadrants. How
can this !»■ done ! By hiseeling the
arcs C.I and J II. With (■ and J as
centres, and a railius gicater than
ri.f, draw arcs inlersecliTig in L.
Draw a line fron) L through T to
the ojiposite part of the circumfer-
ence. r.iscctCI. \\ilh 1 iis ii .■eiitn-,
and a radiu. c.|Ual to Icdf of i:l,
de
crioe a iM'ele.
Study the (iL'i
ceiling pioliletic
niiiit IS I lie iiiii;
Ml Ihe pi
,,f !»i
It
1.. la.i
M
III-
An aiiirlc
r!'.;li!.
''Ccansi
H,i» .1.— 'Ii. line 1.1 .hvi.w il ' II l>isert* »
Ho* 'iM •< ti'l I. >— Kv i.*inv' lh«eiiil- ..I in. :ire <y asnonin
linir .ns.
^1 iK*.rihinu
.11
PRANG'S NEW GRADED COURSE IN DRAWING. 79
What is the angle .TIH !— An nnu-lo of nn' ti ■ . .
inu-r^c. the lin. ,71 „„a Hit,,"' .^ n,..!:: ij™' '"^'' ''"^"'
Wh« la the ungle .\II\?-An un.'lu d mi' Ki . . ,
How does this line divi.le the .ingle Hl.J!-It Insect, it.
It will be seen that this wnrk loads the pupils diioctly ,„ the bisection
<.f an an«le I„ giving this w,„.k, try to h,ue pupils . isover (or ! "
selves the .Hation between the different probIe,n,s. Ld t„ feel that blsl.ti,,,,
in all cases rests on the same principles.
r..-t tlip previous work len.l to the follow-
iag Htulf-ineiit of -
Phoblrm 4.-7V, /,/.„,.( „„ ang/,'.
I^t .\IiC 1« a ^riven angle to be bisected.
WUh li as centre, and any ladius less than
BC, draw an arc intei'secling AB and JiC at
1 -2. With 1 an<l 2 as centres, and tlie same
ladlus, draw arcs intersecting at X Draw 11 3.
This line «i|| bisect the angle AiJC.
but
Problems 5. 6 7. 8.- Do not state the object of the exercis.
begin the w..rk by giving the following dictation :
IHrtatin,,.- With any desired rmlias descril)e
a circle, and mark its centre C. Draw its hori
zontal diameter, AB. With .VC as a rmlius an.l
A and li as cent.es, construct arcs inter.secting
the cncumfe„.„ce at I, L', X, and t. Rule lines
connecting the a<IJ!.-ent intersectins points. Con-
nect I and C,
Ask pupils now to lay their instniments
which they liavo just made. .\sk_ *"
WTiat ,. .l,e figure A 1 r?-A tri.nglo. An e.|„ilat,-,,,l t,i„„,,le
What IS „ triantflo?- A Hgure havi,,;; three si.les
80
teacher's manual.
What U the luise of a triangle 7— Tlio bum; of a trinnulo is the niile on wliich it
HeemH to rest.
What is the ittwe of the triHn(;;lo 1 AC?— AC.
Can you draw, with the aid of your ciiiii|iu.s8es, iiii cquilnternl triiui).'16 on a given
line, UE, as a IwiseJ-Yus; with l)E us mdiiis, and l> and E as centres,
draw quadrant*, and rule lines from tlie itoini of intersection to l> anil E.
Come to the hoard and show how you would do it. fan it l>e chiiio witli less
work? — Yes; with the same radius and centres, rlescrils) 'ihui-l ares that will
intersect aliovo the centre of the line 1)E, and ''■ ii rule lines from the [loint
of intersection to I> and E.
How is the semicircle A 1 '2 B divided?— The i ■I'ircle is diviileil into tliree
equal parts, that is, trisected.
How could you trisect a aemicircumfcrence with y ..ir cninpusses ?— Witli tlio mdiu"
of the semicircle as radius, and with each end of tiie seniieirclo as cutitre,
describe short arcs cutting the seniicircumferenco.
Does A 3 4 B look like any liguro that you havo ever seen ?— Docs it look like
a liart of any figure that you have over seen!- It liK)ks like half a liexagon
— half the base of a hexagonal prism.
What is a hexagon?— A hexagon is a /iguro iiaving six sides.
Yes; and when the sides are «iunl, tlio hexagon is called a regular hexagon.
When they are une<iual, the hexagon is called an irregular hexagon. Is A
3 4 B half of a regular hexagon, or of an irregular liexagon?— A :l 4 B is
half of a regular hexagon.
How do you know that it U half of a m)iilar hexagon ?— Because A 3, 3 4 and
4 B are all equal to the railius of the semiiircle, and must, tlierefore. Is)
equal to each other.
How could you complete the hexagon ? -By drawing
secting it by the radius of the semicircle, and
points by straight lines.
What would AB then Ije called?— The diameter of the circle.
Right in regord to the circle. What would it lie calleil in lelation to tin- hexagon?
— The diameter.
No; a diameter of a rectilinear or straiglit-lino figure eonnect> lli,- I'l-ntres of
opiwsite sides. Wliat is the line that eoimeeta tlie opiiosile angles of a
square called?— A diagonal.
What does AB connect?— The opiiosito angles of the hexanon.
It is, then, the diagonal of the liexagon. Look now at your ligure nn.l think.
How would you draw a regular hexagon with c.iiiiliasses? Take ii .■.■litre and
a radius and draw u circle. Draw a diameirr ..f the cii. !.■ : with llie ra.lius
of the circle, and with the ends of the diameter as centres, trisect each
semicircle.
semicin^le alsive AB, tri^
(inneeting the successive
■,.Tf^ •
PKANO'S .NEW „„AI.KD roVUSK IN WUWINa gj
u„.l.... ,|,ftl„..„„ ,„„.,i,i„„.. ■ "'"' "'" •■""»'"'■■•'!"" of a hexagon
Jx't Ali Ixi the ffiven lwis(> Witi, \ » i-
r ■■"- "•- ' ■-".« ". p"i- ' 't: a'T::,;:,^'""! ab ^i;?
Phi.hlkm 7.-7'„ ,/™,r „ ,.,,„„/„,. ;„,,,„,,„„
The .llu»tmti„„ on tl,e ,\nnviu.^-U„,k m-e show, „ „ i
„ ' ■ ' '"''> '"• "l»u yivcn to pupils.
I'i
teacher'h manual.
Ilir iHil I'f <( ijiiien littf.
I'lttrc,
till)
kI
PkoBLKM 9. — To draw (I fiffiiemiiitUiif n
Ua PQ Iw llici giviii li'ii'. Willi I' iw I
iinil any rtuliiiH, (IcscrilK) alxuit two-lliinls
Ncniicirrlp, tlin ii;;lit I'liil of tlic! iiir icsiiiin ■
liiii" PCJ. With tlio saiiii) nulius, liiy iiH' ii|U
(listanccH <m tlio lur. With 1 mid -' in iiiilns,
d»)HCril)e ftrcs* which interHcrt ut ^. Uraw .*J P.
This will !)« the iLimiit'd iH'i|ioMcli<ulur.
Froblkm 10. — To ,i:HalrU:t illlrlin ../' .'«(' aiiil
45° at a j^iiiit Vfin n ijirrn liii,\
I^et DE lie the jjivcii line; it ix niniiii'il tii make at 1> angles of U0°
anil 45°. At I) eivit, a [.criienilieular, .1 T>, hv Pinhli-ni It. This niveH the
right angle or angle of 00', 3 UK. Hisint this angl.' l.y Prolilem 4, liy the
lino 5 D. The angles 3 D Tj ami j 1>E are eaili angles of 45' as required.
PnoBLEM 11. -VVi nmstnii-t amjltn <[f (Ul° mid :S<i' at (I ;linn i«>int upon
a (liven line,
Ia-I CIH he the given line. .\iiKles of fil)° and 30' are iei|uired at the
point G. With 11 as centre, and any radius lesc. than (iH, draw an arc up-
wards from 1 on GH. Tjiy off on this from 1 tne distaiu-e 1 2, equal to
G 1. Draw G 2. The angle 2 G 1 is the angle of GO" reiiuired. Bisect
this by Problem 4, by the line G 3. The angl.-s 3 (i 1 and 3 G 2 nre
angles of 30° as required.
When juipils have mastered tlu'se fundamental geometric problems,
proceed to: —
"f whiili A I!
PR.\NO's NEW DKADED COlliSE IN r.UAWim Ki
i„^'"*^'^V?P^°*"°° °^ Geometric Problems in Worldnir nr..„
toga and Patterns, i,. ,i,„ >;,.«, ,.,,.1 .l..v,.|„Z., , ,^^07?^
w I, is just ,1,., .un... "" '•"-""'•'■'- "f the top vi.nv,
III tin. illu»tr„ii„„ tlm arc ACOKn i, |,„|f ,„• „ ,,•,,,,,.
the rliamuKM-, «l,ilo it f.,n,i» ||„. ,.li.,i-.l ..f tl,.. an- Ti,r
ilimwii™ lH.tvv,,.n til,. .I,,,,.! Ah an.l tl.o are ACUy'l;
l» Ki-eatiT |,i„|.„li.„,„t,.|_v tl.au ti„. diffi.,,.,,,.,. I„.,„,.,,,
tlio ihunl AC ami tl.e are AC. Tlio Mnall,.,- <,!,.
-livisions „( ti,„ are i,.sM.„ thin MT.-r -,., „, ,„.„ „t
^■^'■"- ■ -.:i.ii.^ I s .,:;;';:":;,.,:;';; rr :;„:;: ■■"■^"'■"""■"^^ '■■
The Frustum of the Cone. T» ti,e ,lov,.i„,„„„,„ ,„■ „„. f, , -.
will 1« »..,.,. that .1,..,.., are tw,. ..u,...,! ,.,!.,.. ..a.l, , ' ;'".'","
Til- ,a.ii,H of ,1,., fi,..,t o,. la,.,..,. o„o is ,L . v r: "■ '"•"''■■
»' ■.. in ti,„ f,.„„t vi,.w. :,.i°; ;;;'''•'' '?:'" r* "- -o -
'—'■•' "-^ -'- ^i::.!.;!;::;::;;,:,,,;:''' ^ '■«'«'"
Page 16. CONSTRUCTION. Working Drawings.
CI.ooso fai,.ly si,„,,I„ ol.j,,.,,, ,,„t ,■,.,,„„.„ sfi.-t a..c.u,.acv of „ ,...,!„„
i""l tun liHss of .hawing. - "'■Miv..t,on
MlCIOCOn RESOlUriON TEST CHAIIT
(ANSI ond ISO TEST CHAKT No, 2|
1.0
^1^ 1^
■^l£ III2.2
m
I.I
11-25 111.4
m m 11^
^ APPLIED IM/IGE Inc
^p^ 1653 Ea>t Mail 'itreel
=-» Rochfsler, Naa Vo'". '*6n9 USA
^^ (715) 482 - 0300 - Pfione
^^ (716; 288 - 5989 - Fai
84
TEACH r.irs MAXIAI,.
Give as mudi prarticc »s i>uNsil)le in " rcailiii;,' " winkiDi; ilnnviiij;s
borrowed from practical workjiicii.
Page 17. CONSTRUCTION. Optional.
The illustrations on this pane .sufjgi'^t tu.i kinils of cxi'rciscs which will
make new demands on the i.u|iil» : tlie .stii.Iy I'f tvpe models turned al
various an^li's, and tlie study of hollow models whose iniu'r form must lie
stated ill the drawin;,' hy showing aetual or iuiagiuary sections. Sections may
be made vertically, horizcjutally, or oliliijuely.
Page 18. REPRESENTATION.-- Grouping. Rendering.
It may lie profitahle to copy the example v'iMMi on the ilrawing hook
page, in order to understand U-tter its spirial excellences.
Page 19. REPRESENTATION. -Grouping. Rendering.
Previous exen-ises in the sanu; drawing-hook w ill have prepared tlio pupil
for this. Page L'4 of this manual gives suggestions ahout the rendering of
material or "texture."
Page 20. REPRESENTATION.— Flowers from Nature.
See pages 24-26 of this manual for counnents on j.ictoiial sketching,
botanical study, and deconiti\e treatment of plant foiins. If decorative
treatment is preferred, it is well to arranj'e the composition on practice
paper. Whe'-e brush and ink are available, it is a good i>lan to try two
different arrangenu r,ts of light and dark, a.id choose the better for working
out on the book page.
Page 21. REPRESENTATION.— Optional Lesson from
Nature.
The illustrations of horses and riders on the drawing-hook page are
famous old examples of the decorative use of aninad and human figures.
The huntsman is from an ancient Assyrian /.,n-r. //./, made alxiut fiOO years B.C.
The horsemen below are from the celebrated frieze of the Athenian temple,
PiuN(i'H NEW unxmn c.ritsE iv i.,,v«ixg. 85
Pa^e 22 REPRESENTATION. Out-of-Door Sketching.
..: _ . '"" >""• CIkilho a .s„„,,l,, |,„„^
"f tiv
nIimiIi )cry
«i.l.out „„y , „n,siv. ,„.„,>„„.,„. I,„|ie,.t„ ;,„„,,,
wrliout trv.,,^- to shew any s,„;,ll ,|,.,„i|,
''- ^ - -.- J':;;ri:::i;;:'.:';::;:::;:;:-:— - ^.p
Pa^e 23 REPRESENTATION.-Space Relations in Landscape
a„i,„„, f„™, '■ "'"' '" "" •''••■-"- '-"—.t "f plant f„„n., a„,I
r^t experimental weik 1k> ilorm „„ .
r™-.iea,„e t,. n.ake in„ivi,,„ , I, 1,^ "wr""^'' " " '"'^ ""* '-"
l.-n. u., „,„ i„u,t,.a,i„„, i„pa. . ' o o "] "''"'T'"" '"' "■"
«....,, ta.e ,.„t. ..,„. lanL;,.- t;l:l:';;;,,:!r:;;::^f ' ™«-
ii...t":n;;;i'T!::::;,3:'r -v ^"^ '-"'"-^ ^'"" "■" ^'-"^"^
effect, ;,ut to pnclue, las! ?'"'■'"* " " ""' '" "'"'"" * P-''"""'
ma.,.e. in the ,'ve„ s^. .' "■■■™'g-"'e..t „f l,,aek, white and gray
Tlefer to tlie suggt'sti(.n.s it
this series.
Page 24. PICTURE STUDY.
rarding Pioture Study for I!<K,k.s I to 4 of
86
teacher's manual.
All artists make a great many sketclips in preparation lor their im-
portant vMjrks. Tliese aketilios aru sometimes like note-books, the fixing of
a menioranllura of somelliing wliit-h interests tliem, e.:i., a mass of trees and
roofs against the sky, the outline of a galloping horse, the fi^'ure of a golf-
player about to strike a ball. Somotiines the sketches are experiments,
made to try the effect of different positions and arrangements of a subject.
The fcgnreslra wing given in the book is reproduced from a chalk-drawing by
Raphael Sanzlo (1483-1520}, the great Italian master. It is one of his many
studies in preparation for a cekbratcd painting in a great pnlace in Biime. The
whole picture represents a terrible fire which destroyed a large district of the
city centuries ago, and it shows many different groups of poojila terrified by the
calamity. This drawing shows part of a little group of women and oliilJren who
are praying for help. It is worth very careful study in itself for its spirit and
beauty, and any student of drawing can learn much from its 5iTni)le, masterly
rendering.
The architectural illustrations will be found interesting both for the beauty
of the ancient buildings and for their historic associations.
The Pantheon is an old Eornan building, the body of which was standing
before the Christian era. It has boon used for different purposes, but was for
many years a temple to the heathen gods; now it is a Christian church. It is
specially famous as being one of ihe first successful attempts t.i build a large
roof in the shape of a dome. Its. circular walls are nearly a hundred and fifty
feet in diameter, and the dome rises to a height of nearly a hundred and fifty
feet from the ground. It is lighted by a circular opening in the top of the dome.
The pillared porch and the towers are not quite so old as the rest of the building.
Haphael's tomb is in the Pantheon.
The Temple of Theseus Is the best preserved example of its kind. It was
built over two thousand years ago (-105 B.C.) and is still standing in Athens. It
is over one hundred feet long. The figure of the man standing by one of the
stately columns gives an idea of their height. The Greeks studied proportions in
everything they built ^ and their best architects came to have so exquisite a sense
of beauty of proportion that their works which have stood until now are con-
sidered masterpieces of artistic construction. We never become tired of them.
That is, in effect, what an old Greek historian said about them centuries ago:—
' ' Every one of those that were finished, seemed then to be very ancient
touching the beauty thereof; and yet for the grace and continuance of the same
it looketh at this day as if it were but newly done and finished, there is such a
certain kind of flourishing freshness in it— as it every one of the aforesaid works
had some living spirit in it to make it seem young and fresh. —( 1 lutarch.J
GLOSSARY.
SPHERE :
•olid liiiviti^' one roiiml fiiio
HEMISPHERE: Ir^ilf
llavinrr Olio roiiiiiliiii; fuoj and .„„,
plane eirciiliir fauo.
CUBE; a soli.l haviiii; six i.,,iml |,l„„c
faces, the opiiosile faces lieiiig jiiirallel.
CYLINDER: a solid huvin- two c<|ual
piano cirrnilar parallel faces, and one
curved face.
PRISM: a solid hiivinj; two pl.ii'o |»)lj-
ftonal faces called liases, and lietween
these as many plane side faces as the
liases have sides. It may reston eif
liase.
, SQUARE : one whose bases are
scjuares. A cuIkj is a s<piare prism,
whose side f-ces ecjual its bases in
size and sliatie.
, TRIANGULAR : one having tri-
:i>i!jles for liases. A right-angleil
Iiian-ular prism has rij-ht.unjr|ed tri-
angl. s for its bases. An ccjuilateral
tiian;.'nlar prism has erpiilateral tri-
angles for its lia^os. An isosceles
tnanftular prism ha.s isosceles triamdes
'or its Kises. "
, HEXAGONAL: one whose bases are
hexaifons.
ELLIPSOID : a soh.l bounded by one ,ej;u.
la'ly n.iMidin^. fa,.e and ha'vin;; three
spliere; a form ■"'^'•' •"" "< wliieh niiiy be eipial ; a.
solid ^eneruted by the revoluli, f an
ellipse on one of its axes.
OVOID: a symmetric solid liavin;; one
rouiKle.1 faoo and having one end
larger than the other.
CONE: a solid having one plane eircular
fane calle.i the lias,., ,„„| „ne ..urveil
face. The cireumfeieneeof (hocurved
face uiminishes regularly until it vari-
islKW in a point called the vertex.
In a righ, cone the vertex is directly
over the ceiilru of the base.
PYRAliIID: a solid contained bv a plane
IKiIygon as ba-e ,ni,l t.iangular planes
meeting in a vertex. Pyramids are
nameil from their bases, as triangular,
s'lnare, etc., as the base is u triangle,
stpiare, etc.
87
SURFACE : the whole outside of ,i form.
FACE : a imrt of a surface unbroken by an
edge.
VIEWS: drawings showing the facts of
form.
— , TOP: the vi,.-w oI,tiiine.I hy looking
'lirectly duwii ui»oii a form.
•n'.Acinit's m.vni;al.
VIEWS, FRONT : tU- vi.« ..l.tniiKil .if "ii
i,l,j,-i-t «li. u it i-iliiT.iK in fii.iil 111"!
opiK)"itL' tliu tvts (»f t !iu ult.si'i\xr.
, SIDE: tlic vi.wulil^.iiiiHl'yl.iiikinj;
lit mi i.l.j.-.t ill 11 .liivi-li.iii 111 lin'it
iiiijllis til tliiit ill whiili villi luokpil fcir
tliii fiimt view, tilt! viiriniis piirtHeif tlir,
c)l.jci-t lieiiiiz wiijii. 'scd to 'it; on u luvt-l
wilh tlio eye.
PATTERN: luiylliiiij; fnt, ilnnvn. or
foriiu'il, to )n: iiMil II- H i;uiilf ill iiiiil'-
iiii; 1111 oli,|i-.l, mill siTviii.,' to iletcrmiiie
its exact foiiii anil (UiiituMiiiiis.
EDGE : tlif (iliii'i' will re livo fa<'P« liU'i'l-
CORNER: tlifS|>iii-t! or contents iiifliiilfil
(MilliiiiH -lioil railiiixof the [mi f
union) iH'tweeii faces, edges, or lines
that meet.
OUTLINE; thodelille.l limits of form.
LINE; the repifM-ntalion of leiiiith, '"it
nut 'ireailth or thickness.
, STRAIGHT: one -nhose direction
remains the same tliront'houl its
length.
-, CURVED: oue-.ilioseilil<ilioli con-
stantly changes.
HORIZONTAL: |.crfcctly level.
VERTICAL ; llliri'-'lit ; straijlht «]< and
tlnwn. A face, an ed<re or a line
may lie vertical.
OBLIQUE : neither liorizmital nor vertical.
PARALLEL : lieing of unvarying' distance
ajiait tlironchoiit their extent. Faces,
edges mid lines may Ui parallel.
ANGLE; the ilitVcnncc in direction '«•
tMciii IMoiir innreface-, edecs or lines,
wliichnnet, or would meet if jiroiliieeil.
, RIGHT; an mi^'.' of '111.
— ACUTE: an aiej. 1. ~- tl i-ht
mis;lc.
, OBTUSE; an allj.de greater ihall a
right angle.
PLAKE FIGURE: one having the same
direction tlironghoul ; ]i.ifeclly even,
as if made 'ly a eariieiitcr'- [ilanc
TRIANGLE; a ]ilaiie figure having three
sides anil three angles.
, BIGHT-ANGLED; a Irimgh- hav.
ing one of its jtnglo a right angle
-, EQUILATERAL; a Irianglo vihiisc
three sides ice eiiual.
, ISOSCELES; arriallgle having two
of its sides eiinal.
- -, SCALENE: alr;;ingh', all of «hose
sides arc unciinal.
RECTANGLE: a figure, all of whose
angles !ire right angles. A stinare and
an olilong are rectangles.
SQUARE; a iihinoflgnre having four eiinal
straiglit sides and four right angles.
OBLONG: a lilalie lignrc longer one way
than the other, having four straight
sides uiid four right angles. The
oiniosite sides arc equal and paruUel.
RHOMBUS: a iinadrilateral having four
eiiniil straig'it sides, and none of its
angles right angles.
I'llAXd's NErt' GllADEI) COl'H.SE IN Uli.WVIXO.
SO
RHOMBOID; ,. ,,M.ulnl.,tt.r-,-,l «l,ich l,:„ i BASE, tl,e ,»„t „|«>M wim.li u s„Ii,l ,„
in 0|i|»iMto .-iclir. ciiml liiicl iiumllil, 1
Imt 11(1110 i.f its iiiiylis ,iM|,t ,„,,.les.
|.l,
many
jiie in
TRAPEZIUM : 11 |,liiii.i li;,.,i,v li.ivin- fi.ur
>lr;ii;_'lit si-lr-. m, t \M> nf uliicli aiu
iMlllllfl.
POLYGON 1 a |,liiiio tit-iiro liinii
Hiile.i. A reculiir i«ilyjr(.ii i:
which nil the fiiU-i uio Liiiml.
PENTAGON: 1, |,hilio %„,e hiiviiiij five APEX- til
slniiirht si,l,>. A ivj;Lihir |i,.iitii^..,ii is
one in uliieh all the sides me equal.
HEXAGON: 11 «j:iiie Imvii,}; six striiij-ht
sides. .K retrulill- hexu^r,,,, i^,,m^. whoso
siiles aro enmil.
limine is a— UMi.il to n-i. The
eii'ls of a ,iri-iii are- ealleil its 1.,-ises.
Iliiiiii;h iiliviiiii-ly it ean lest ii|><n lull
one at a time.
AXIS: 1111 iiila^riiiniv str.iijrhtl: 10 |«issiiijr
thnui-h the eeiilie ,,f a so.i,| ,„■ ,,f a
|ilaiie (i;:ille, jiixl ii,|iiil uliieh it is
assiiiiieil to revohe.
lo pint of tho lilaile of a leaf
o|)[»osite the leaf stalk.
ALTITUDE: hei.-lil
OCTAGON : 11 li^'iire having' eijjht .siihs ; a
rei.'illaroetas,'oii has eight eiiual siiles.
CIRCLE: a |iliiiie Hyure Iiouiiiled liy an
eventv-eurved lino ealleU its eireuin-
fei'ellee.
SEMICIRCLE: half a :'irele.
ELLJPSE : a piano tisrnio h
DIAMETER : a real or iiniifrinary straif^ht
line passinj; thronjrh |l,o centre of a
H;,nire, teiiiiiiiatiii'_' in its honnilarv.
mill lliviilin^r it into luo eiiniil anil
eoiTcsponiliiij; parts. Tlieiliaineter of
a strai^ditline fijrnro norineets the cen-
tres of the opjiosilo sides.
DIAGONAL : a real or iiiia;;iiiary straij;ht
lino 1 iieetiiii; angles of a ligiire that
aviii}. a regular j ■"" ""^ "iljaeent.
cnived outline an,l a loiijr and a short ! CIRCUMFERENCE: tho lino lioiinilin.. a
dianieter. It is like a Ihitlenedeiieloi | .... ' ""^ "
tt piano figure hoiiniled liy a curve, 1
every point of which is at tho same I
coinhined ilistiineo from two points
within, called the foci. RADIUS : half a iIliiii.i, r of a liiele ; a
nVAr . ...I......*' ! . lino from the eeiilie to the eireiiinfer-
UVAL: a plane hj;ure lonj,'er one wav than
circle, it is so curved Ihatevi-rv |»oiiit
is e.|ually distant from a point withi
ttie circle called its centi -.
the other, liiainiled liy curves that are
Kyinmetric as regards an a.\is.
TREFOIL: 11 triangular ornament with
three leaf-like liarts.
QUATREFOIL : a curvilinear figure of four
leaf-like liiirts. It is much used in
Christian art, and is there svinholic.
ence of a circle.
ARC: any portion of the eircuinfelence of
a circle or other curve.
BISECT : to divide into two e(|Uiil jmrts.
TRISECT : to divide into three eijual iiarts.
90
TEACHEK'S MANl\\L.
HUE; thorlmriicteriNtir of cnldr timt <li>*-
tinu'iiM"*'!^ it fi'»"i ">'y "ttnT culor, as
blue, rod, ulc.
TONE: tmy ^tllto of u nil.ir iis it im^s.^s
from liirlit to dark. Tnncs incliidf
tints, hlmdfs, and the iioniud tone.
NORMAL TONE: tlio typiral or rcpre-
Hentativo tone of iiny ^iven ccjlor.
TINT: a tone of color litrlitcr timn tin;
noriiiul tone.
SHADE: 11 tone of color darker than thi;
norniiil tuae.
SCALE: tho rt>;.'id)ir tian>iMnns fnmi a
viAnr llinmj.'li succuedini: niiMlilicat ioiin
of it.
UNIT : tho fitruro reiioatfd ii» adecorHtiv.;
arninyemunt.
BORDER: rci«tition of a niiil or [«»rtiori
i)f a dt'sii_fn on a lino.
ROSETTE : a (lecorativo lurim^t'tnorit
madu hy tho nynlar rpi»rtition of nnitw
of design alxjut u centre.
^^f^'S*'***